Catalogue 2023-2024

The Promise of Meat song- composed and performed By Anat Ben-David with Anna Dennis by vocally improvising fragments from William Golding’s Lord of the Flies. Beginning as a narrative song (using Golding’s descriptive scenes of the jungle), it gradually degenerates into eloquent chaos, the slow tribal thud evoking the atmosphere of ritual sacrifice. The promise of meat video featuring: Anat Ben-David, Anna Dennis and Cinematographer: Lily Grimes, elevates the carnal, visceral and unreasonable beauty of the human psych in the age of Data-centric threat to humanity.

Dr Anat Ben-David explores the freedom of live improvisation combined with traditional methods of musical composition. Anat’s approach to time-based work is founded in composition. Her background in experimental theatre (the school of Visual Theatre, Jerusalem) and as a member of electro–punk band and art collective Chicks On Speed, has led to projects such as Kairos OperaArt (commissioned for the opening of the new wing of Victoria and Albert Museum), where live electronic processing meets classical instrumentation in a fusion of different musical genres. In her doctoral research Oscillation and Disturbance in the OpeRaArt (Kingston University, 2015), artist and musician Anat Ben David coined the term ‘OpeRaArt’ to explain her rearrangements of sound-text into musical compositions. Ben-David recent collaborations include Lina Lapelyte (winner of Venice Golden-Lion prize, 2019), opera singer Anna Dennis, poet Richard Scott, Vocalist Sharon Gal, violinist Angharad Davies and more. Anna Dennis Described by the Times as a “delectable soprano and a serene, ever-sentient presence”, Anna is especially noted for her work in Modern and Baroque repertoire. Previous opera stages include ROH, ENO, La Scala, Göttingen and Aldeburgh. Concert work includes Berlin Philharmonie, Lincoln Center, Royal Albert Hall, Gulbenkian Lisbon, and Sydney Opera House.

Rokh est un portrait métaphorique de la minoterie dans son état actuel comme le “grenier du pays”. Rokh (Le Phoénix - mythologique) est en rapport avec la “Conférence des oiseaux” du poète Farid Ud-Din Attar, avec la quête du mythique Simorgh, qui apparaît dans tant de contes arabes, indiens et persans. Rokh est une tentative de capturer quelque chose de ce moulin en voie de disparition et de mutation. Il fait référence à l’histoire et au l’histoire et le présent d’une terre en mutation à travers une collection de gestes traditionnels, et de l’arrivée du bateau qui importe le grain d’Asie à son d’Asie, le grain est trié, stocké et retravaillé, étudié et dégusté. Mécaniques oniriques et répétitives nous transportent dans une transe hypnotique, visuelle et sonore, en écho à l’histoire de l’humanité à travers les mouvements, les passages et le transit des oiseaux. Le bâtiment est vu comme un nid ou un organisme vivant produisant du grain qui nourrit. Il y a un mouvement éphémère vers la démolition de l’édifice, la chute des gravats, des décombres et de la future reconstruction. Je vois ce projet de film comme une allégorie de la nidification, de l’attente du prochain envol, un voyage onirique dans un immeuble. Un voyage onirique dans un corps de béton révélé par la lumière caressante, la puissance de la chaleur, la visite du soleil du jour à la nuit, un cycle éternel qui insole la pellicule comme une peau marquée au fer.

Yasmina Benabderrahmane est diplômée de l’École Nationale Supérieure des Beaux-Arts de Paris en 2009 et du Fresnoy – Studio national des arts contemporains de Tourcoing – en 2015. Elle travaille avec le film et la photographie argentiques de manière expérimentale. Yasmina s’intéresse au fragment et focalise son regard au plus près de la matière, jusqu’à l’invisible. Elle crée des corpus d’images fixes, animées et sonores. Sa pratique à mi-chemin du documentaire du journal-filmé, emprunte plusieurs formes : de la simple image au film, jusqu’à l’installation multimédia. Yasmina reçoit en 2018 le Prix du court-métrage Solveig-Anspach pour son film La renardière. En 2019 on la distingue Révélation Photographie – Lauréate du Prix LE BAL de la Jeune Création avec l’ADAGP. En 2021, elle remporte la commande photographique nationale « Regards du Grand Paris – Année 6 » (CNAP – Ateliers Médicis). Son travail est exposé à l’international et intègre des collections privées et publiques. Yasmina Benabderrahmane est pensionnaire à la Villa Médicis de la promotion 2022-2023, elle y conduit ses recherches pour le projet de film au long-court Carne Vale, lotta lavora come un fascista.

A gravel path on the edge of a village. Between fields, across to a fence. Drawn into the map of former uranium mining areas in Saxony and Thuringia. From 1946 to 1990, the Soviet corporation SAG Wismut mined uranium there for the USSR's nuclear weapons program. Above ground, socialism shines towards the future, below, the ancient rocks radiate through the torn up earth. The GDR environmental movement throws a spotlight on the way. Night. Darkness. A group of people, a flashlight, a shovel. X-ray film is buried in the gravel. The ground exposes the film, leaving a trail of its invisible rays. The film SUN UNDER GROUND follows this trace horizontally through today's landscapes, marked by mining and redevelopment, and vertically through the ground as an archive. Deep drilling through space and time traces the sedimented narratives that surround the element of uranium materially, metaphorically, and geopolitically. How does it haunt the landscape? How does it connect with the ghost of socialism? What stories and biographies surround its excavation sites? How does it radiate into its recording media? How can the spectrum of the visible be shifted to bring its invisible radiation into the image, to make it audible or palpable?

Mareike Bernien is a Berlin based artist, filmmaker and teacher in the field of filmic research and critical archival practices. Since 2018 she has been part of the production platform pong film. 2020-21 she was a fellow in the Berlin Artistic Research Grant Programme/gkfd. With a media-archaeological approach, her artistic works question ideological certainties of representation, their material-technological preconditions and historical continuities. Her current films include: DEPTH OF FIELD (2017) and SUN UNDER GROUND (2022) both co-directed with Alex Gerbaulet. Alex Gerbaulet is a Berlin based artist, filmmaker and producer. Since 2014 she has been part of the production platform pong film. 2020-21 she was a fellow in the Berlin Artistic Research Grant Programme/gkfd. In her artistic work she explores, among other things, the imageability of reality and memory. Her films move between video art, essay and documentary film, between activist impetus and fictionalizing reflection. Her recent films include: THE SLEEPER (2018), as well as DEPTH OF FIELD (2017) and SUN UNDER GROUND (2022) both co-directed with Mareike Bernien.

Three presentable young people in complicated relationships went to a villa deep in the forest on a winter night, experiencing frustration, anger, and loathing, but still, a strange desire to get closer, which will never be satisfied.

Russian dissident. Former architect. Left career to become an independent filmmaker. Currently works in Mongolia. Studied at Saint Petersburg School of New Cinema. Studied at N. Novgorod University of Architecture and Civil Engineering. Has Mongolian origin.

The film touches on some historical facts about the largest refugee camp El Shatt in the Sinai desert in Egypt during the WWII, based on materials from Croatian and international archives and intertwined with the visuals of this desert non-place now. An attempt to reconstruct a fragmented memory of unknown history about migration in the Mediterranean as a transtemporal filmic journey.

Ana Bilankov (Berlin/Zagreb) is visual artist and filmmaker working in the media of experimental film, photography and video installation. She studied Art History and German Language and Literature at the Universities of Zagreb and Mainz and completed postgraduate studies „Art in Context“ at the University of the Arts in Berlin. She has shown her work in many exhibitions, won numerous international scholarships and participated in film and video festivals, where she has won several awards.

Empire of the Swamp (2023) begins with a figure wandering from the mangrove swamps surrounding the city edges of Singapore to Bukit Brown Cemetery in the heart of the island, overgrown and rich with biodiversity, once the final resting place for 100, 000 people. This green space is slowly being swallowed up, graves exhumed to make way for new roads and eventually new housing. A script, written by playwright Joel Tan, is a fable of nature and the repercussions of colonialism. A tale of a crocodile who comes upon the soul of a English soldier lost in the swamps. Empire of the Swamp was part of Atomic Light, David Blandy’s most ambitious solo project to date at John Hansard Gallery, Southampton, UK. Featuring four newly commissioned films, it builds upon his continued interest in history, the legacy of empire and the climate crisis. The tales interconnect through the story of Blandy’s grandfather, a British soldier interred in Singapore as a Japanese prisoner of war, who believed that the horrific atomic bombing of Hiroshima saved his life. Empire of the Swamp was commissioned by John Hansard Gallery, UK & Supported by Arts Council England

David Blandy (1976, UK, Lives & works in Brighton) makes work that slips between performance and video, digital and analogue, investigating the stories and cultural forces that inform and influence our lives. Collaboration is central to his practice, examining communal and personal heritage and interdependence. With research spanning multiple forms of archive, from fandoms to the archive of the body, historic texts to academic libraries, archaeology and ecological theory, twitch streams and film archives, Blandy weaves poetic works that explore the complexities of the contemporary subject. He is represented by Seventeen Gallery, London, UK. His films are distributed by LUX, London, UK.

The installation consists of twelve filmed life-size portraits of actors viewed on six screens, each impersonating their favourite character of the opposite sex, performed in six-minute monologues. In total the installations lasts 72 minutes. The monologues are extracted from, or inspired by lines delivered by iconic characters in drama and literature, both historical and contemporary, criss-crossing time, space and language. During the 72 minute-installation all actors remain visually present, while only one voice speaks at a time. Between silence and the spoken word, the intrinsic tension of male/female border zones is redefined. The result is multidimensional: portraits of our time containing speeches and visions that bring revealing thoughts and insightful conversations about identity, revolution and desire in what feels like a personal confrontation with each actor. We challenge static, mental and cultural conventions by giving back the imagination to the limitations on gender and sexual identity.

Diana Blok is a self-taught visual artist born in Montevideo, Uruguay (1952), she lived in Mexico, Guatemala and Colombia before choosing Amsterdam as a base from which she could function more freely as a female artist. Her nomadic background allows Blok to capture different cultures and identities in her photography and video installations, challenging the structures of the established order as an inspirator, innovator and connector. She investigates subjects as identity, gender, sexual diversity, family structures and culture with poetic and confrontational imagery. In the past 6 years her work evolved into interactive-video installation ’Gender Monologues’, unsettling the gender binary and performing archetypes of femininity and masculinity blurring the disciplines of the moving image, performance and literature. She has had numerous exhibitions worldwide, received the grant for Established Artist from the Mondriaan Foundation in 2020 and will hold a retrospective in the Cobra Museum for Modern and Contemporary Art (NL) in 2024.

An intriguing, well-chosen collage of compelling moments from noir cinema, skillfully attuned to the social fantastic and the oneiric quality of the films. James Naremore, author of More Than Night: Film Noir in Its Contexts. An atlas of film gestures and Pathosformel: the montage - better the disassembly - isolates moments from the narrative and separates bodies from events, opening up to the unthinkable and the invisible of film noir. Ragtag, thus, becomes an immense archive of the imaginary that, far from being sequential and historical, becomes intensive and organic: a film-experience beyond film as such. Federico Rossin, film historian.

Giuseppe Boccassini is an Italian filmmaker mainly working in Germany and Italy. He graduated in film theory at the University of Bologna and film direction at The New University of Cinema and Television, Cinecittà, Rome. His work has been shown in several international film festivals and exhibitions, including the 79th Mostra Internazionale d'Arte Cinematografica, Venice, Italy FID Marseille, France, Edinburgh International Film Festival, Scotland, Ji.hlava International Documentary Film Festival, Czech Republic, Jerusalem IFF, Torino Film Festival, Italy, IndieLisboa, Portugal, FESTACURTAS BH, Brasil, Crossroads SF, USA, Avvistamenti, Italy, Punto de Vista, Spain, Trentino History Museum, Italy, Microscope Gallery, Brooklyn, NY, Pesaro Film Festival, Italy. Light Cone Paris distributes his entire film production. By transforming and manipulating various sources of archival material, his work reflects upon the notion of proximity in contemporary media. The director considers film as "a phallic conquerer that, folding in on itself, now flaccid deus ex machina, observes itself from the inside like a lysergic membrane that slowly founders between the folds of its material." His most recent collaborations include the film editing for Aldo Tambellini's solo exhibition Black Matters at ZKM Karlsruhe, Germany, and he is the artist for Chicago Film Archives' 2018 Media Mixer. He is in charge of programming at Fracto Experimental Film Encounter held yearly at Kunsthaus Acud, in the heart of Berlin.

Bruxelles, 2019. Nous proposons à quatre amies de vingt ans de se placer dans un espace de fiction pour réfléchir à comment ébranler la société capitaliste. Elles décident de faire exploser un centre commercial du centre de Bruxelles et se retrouvent confrontées à la difficulté de faire groupe sans trahir ses idées, de passer à l’acte sans douter. Quels rôles doivent-elles jouer pour s’imaginer agir? Le changement viendra-t-il d’un attentat? La vie et l’amitié sont-elles conciliables avec l’acte radical qu’elles imaginent?

Baptiste Bogaert (1990) et Noëlle Bastin (1991) sommes un duo de réalisateur.trice.s belges résidant à Bruxelles. Le cinéma nous permet de réfléchir au monde d’aujourd’hui. À travers la forme propre à chaque film, nous cherchons à voir et à entendre ce qui fait notre époque, ce qui la travaille, comment elle nous modèle. Nous aimons travailler à cheval entre la fiction et le documentaire - où la fiction est un outil permettant de montrer le réel, ce qui a lieu. Pour les mêmes raisons, nos films sont souvent marqués par le travail en plan séquence et la collaboration régulière avec des acteurs non-professionnels. En parallèle aux films, nous concevons des installations vidéos.

Les toits de A86 NORD SORTIE 10 sont des plateformes hors-sol, des paroles et des silhouettes les habitent. Ce sont comme des comptoirs de bars de quartier, des zones à explorer, des ateliers de répétitions, des plateaux de tournage. Au-dessus du niveau de vie, face à l’espace, des personnes éclectiques prennent l’air, s’amusent, se confient. Les lieux sont calmes, nul besoin de parler fort. Elles et ils racontent des histoires singulières, beaucoup d’histoires.

Nicolas Boone vient des arts plastiques et de la performance. Son entrée dans le cinéma s’est faite grâce à cette impulsion initiale : un film est avant tout la performance de son tournage. Au sortir de l’École des Beaux-arts de Paris, en 2001, il a ainsi réalisé des tournages dont le protocole était entièrement respecté (acteur·rices, décor, équipe technique, matériel, etc.), mais aucune caméra n’était présente sur le plateau. Par la suite, son approche a évolué et il a rapidement accepté l’idée que l’enregistrement de ces performances « de cinéma » pouvait générer une matière susceptible d’être travaillée jusqu’à faire film. Il a réalisé une trentaine de courts métrages tournés dans différentes régions françaises, puis à l’étranger (Sénégal, Chine, Afrique du Sud, Colombie, etc.). Ses films ont été sélectionnés dans de nombreux festivals (La Quinzaine des réalisateurs, FID Marseille, IFFR de Rotterdam, Indie Lisboa, IFF de Jeonju, FNC de Montréal, le Festival du Court de Clermont-Ferrand, la Viennale…). Et obtenu de nombreux prix (1er prix Loup Argenté du FNC, prix du public, prix One+One, prix Camira à Entrevue, Prix Scribe du cinéma, Prix des étudiants à Clermont-Ferrand et aux FID Marseille…). Ses films sont également montrés dans des lieux d’art contemporain (Biennale de Busan, Le Plateau Frac Île-de-France, Biennale de Venise).

SYNOPSIS An exploration of an island dominated by violence and ghosts, where the only solution to return to a peaceful coexistence, between the world of the living and that of the departed and their relatives, is to settle the debts of the past. DIRECTOR`S NOTE This film intends to approach Portuguese colonialism in São Tome? e Príncipe, from the collective memory and its current impact on the population. The film is structured on collaborative practice, through the collective participation of the actors in the process of creation of the scenes and dialogues of the film. The "characters" were built from the actors' daily lives and personal histories, their interpersonal relationships, and the collective memory of colonialism. We have continuously sought to develop means for a deep understanding of reality, and the involvement of the community and actors in the collaborative, reconstructive, and constructive process of the film's material reality. Incorporating individual, collective, and historical knowledge and their perception of Portuguese colonialism. We have tried to maintain this complexity of different realities and times, which allows us to create the film, articulating DAILY LIFE, HISTORY, MEMORY, and FANTASTIC.

SOFIA BORGES was born in Portugal. She studied Visual Arts/ Painting and Curatorial Studies at Lisbon's Faculty of Fine Arts in Portugal. She works in visual arts, research, public space, video installation, and cinema, through proximity with communities, sustained by collaboration, dialogue, and participation. Her projects have been presented in different contexts: in communities, publications, public spaces, art biennials, and film festivals, awarded at Festival IndieLisboa in Portugal and other festivals in Italy, India and Spain. His latest video installation project was presented at the São Tomé Biennial of Art and will present in Bienal Sesc_Videobrasil in São Paulo (Brazil). GRANTS AND SUPPORT (selection between 2022-12) 2021-22 - ICA/Instituto de Cinema Audiovisual/ Ministério da Cultura de Portugal (PT) 2022 - Fundo de Apoio ao Cinema (PT) 2021-22 - Garantir Cultura/Ministério da Cultura de Portugal (PT) 2021-22 - Fundação Calouste Gulbenkian (PT) 2020-21 - l’Alliance française du São Tomé et Príncipe/ L’Institut français du Gabon (FR/STP) 2015 - Africa Cont. / Câmara Municipal de Lisboa (PT) 2013-15 - Duquesne University (USA) 2012-13 - Fundação Gulbenkian (PT)

The visual component of the video ‘Safe Space’ is pieced together from countless YouTube clips of ballroom events from the early nineties—at a time the AIDS epidemic was surging in New York City. Originally a community created by trans and queer people of color in response to a society that marginalizes their existence. The ballroom scene provides a safe space for performers to act out various ways of gender expressions. For decades, the ballroom community has influenced pop culture, and it’s vocabulary has seeped into common parlance. ‘Safe Space’ is narrated by AI generated voices that recite contemporary experiences and statements of LGBTQ+ refugees that have been sourced from the internet. The confluence of image and sound seek to depict both the harsh plight of a minority within a minority and the creative resilience and sense of community that emerges from these experiences.

Mirelle Borra’s interest in urgent global subjects merges with her keen sense of aesthetic to create thought-provoking work. Using moving image, she engages with social and political topics to re-frame these matters in new ways. Mirelle seeks to examine structures of representation through a transnational perspective while staying in constant dialog with the context from which the work is derived. The main focus of her practice is where the personal and the political intersect. In 2017, she founded the online platform 6x6 project which is dedicated to the dissemination of artists’ moving image works, and to create an ever-growing network among peers. Her work has shown internationally in film festivals and exhibitions, including the 20th Millennium Docs Against Gravity (PL), 20th London Short Film Festival (UK), 29th Sheffield DocFest (UK), 19th Vienna Shorts Film Festival (AT), 67th International Short Film Festival Oberhausen (DE), 17th Athens Digital Arts Festival (GR), 3rd FRACTO Experimental Film Encounter, Berlin (DE), 39th Ars Electronica Festival, Linz (AT), and the 3rd Screen City Biennial, Stavanger (NO) among others. Mirelle was born in the Netherlands, and after living in New York City for many years, she is currently based in Berlin.

Hanaba belongs to a speculative future and lives isolated in a new cave with a heavenly aspect, an aseptic laboratory surrounded on the outside by an uninhabited natural environment where time seems to stand still. The protagonist of Hanaba, a term whose meaning comes from the scientific concept of "new mutant flower whose DNA has been isolated", transits between their human nature and their dream of transcending and merging with nature through technology. This idea takes shape during Hanaba's meditations where their recurrently dream of being a drone that crosses a forest like a ghost. We can see how Hanaba develope scientific studies devoted to biotechnology, geology and the meaning of conservation of human body. Progress becomes a new cult, mediated by nature through the ceremonial use of flowers, chants and the ingestion of psychoactive plants as a way to travel to a transhumanist transcendence and total adaptation to nature. A film created by Mit Borrás, with the art direction of Rachel Lamot, with script by Mit Borrás and Rachel Lamot, music by Daniel Vacas Peralta the fashion designs of Kim Rosario and Path by Janine Grosche, the special participation of Weixin Quek Chong as Hanaba and the production team.

Mit Borrás is a visual artist based in Madrid and Berlin. His work examines the relationship between human, nature and technology, their purpose of evolution and the idea of death and eternal life with a transhumanist perspective. He has developed a work complex that encompasses visions of a post-human state of consciousness. Its center of focus is based on the interconnectivity between biodiversity and technological progress. His work has been exhibited at Pompidou, Paris (2022), Art Dubai, UAE (2022), Hara Museum, Tokyo (2010), Exgirlfriend Gallery, Berlin (2016-21), Tick Tack Gallery, Antwerp (2021), The Wrong Bienale, Paris (2021), Harddiskmuseum, Paris (2020), Arebyte Gallery, London (2019), Dimora Artica, Milan (2018), Frontviews, Vienna (2019) Berlin (2018), Aleph Projects, Tel Aviv (2017), Biennial of Media Arts of Chile, (2017), Palacio Fernandini, Lima (2016), Museo de Bellas Artes de Chile (2017), Loop Barcelona (2010,15-19) and Transmediale, Berlin (2011) among others. He has directed the production of digital art festivals as independent curator, co-directed Fünf Galerie in Berlin (2010-14) and worked as coordinator of cultural projects at Instituto Cervantes in Berlin (2014). His work is represented in by House of Chappaz gallery and is member of the art collective Frontviews in Berlin.

In Flow of Words follows the narratives of three interpreters of the International Criminal Tribunal for the former Yugoslavia. They interpreted shocking testimonies from witnesses, victims and perpetrators, without ever allowing their own emotions, feelings and personal histories to be present. Contrary to their position at the tribunal, this film places their voices and experiences center stage.

Eliane Esther Bots (1986, The Netherlands) graduated cum laude from the Master of Film at the Netherlands Film Academy in Amsterdam. Her films have been screened at ‘IDFA’ (NL) ‘Berlinale’, Berlin (DE), ‘Cinema du Reel’, Paris (FR), ‘New York Film Festival’ (USA), ‘International short film festival Oberhausen’ (DE), ‘Go Short’, Nijmegen (NL), Kassel Dokfest (DE). She works as a lecturer ‘Moving image’ at the University of the Arts in Utrecht (NL).

Ce film se situe à mi-chemin entre pièce de danse contemporaine et film expérimental. Lors de cette deuxième collaboration avec la danseuse Hava Hudry, je souhaitais questionner la place du corps féminin dans l’espace public, et dans ce cas précis celui de la nuit et de la fête qui peut être très ambivalent (à la fois brave space et lieu dangereux, particulièrement pour les femmes ou personnes perçues comme femmes). La relation qu’entretient la danseuse avec le sol est primordiale ; elle choit, se redresse, se cambre, casse ses mouvements, rampe. C’est à la fois une transe libératrice et une expression primaire de la violence intériorisée qui finit par exploser. L’interprétation d’Hava renvoie le / la spectateur.ice la relation qu'iel entretient avec son propre corps, et au jugement qu’iel a pu émettre sur celui d’autrui, notamment celui de personnes sexisées (femmes ou perçues comme femmes). La projection est accompagnée d’un parfum dont les notes salines et métalliques rappellent des odeurs corporelles aussi attractives que répulsives. Ce mélange multisensoriel permet d'occuper la totalité de l’espace et emmener le spectateur à prendre part à la fête.

Après une licence de Lettres à Paris-Sorbonne et un Bachelor en Photographie et Vidéo à l'Ecole des Gobelins, Emma Boudon étudie à l’École des Beaux-Arts de Paris où elle articule sa pratique artistique entre vidéo, installations et photographie. Elle développe son travail autour de la question de la présence des femmes, ou perçues comme femmes, dans l’espace public. Dans son dernier film/installation RAGE THEY DESERVE, elle témoigne des violences qui se manifestent dans différents espaces collectifs, en particulier celui du monde de la nuit. Elle le caractérise comme un « brave space » transgressif où se confrontent violence et liberté. Cette ambiguïté est retranscrite à la fois dans une chorégraphie qui combine transe libératrice et colère explosive, mais aussi par l'environnement lui-même, espace de défoulement, qui peut rapidement basculer de la joie à l’insécurité, de la lumière à l'obscurité. Cette obsession pour la fête l'a mené, présentement, à réaliser un film autour de la scène underground séoulite.

Saluant de la main le caméraman, les sujets offrent d’une certaine façon au prochain spectateur la reconnaissance d’un au revoir, à un moment fugace, qui se renouvelle. Pourtant, quand le film est projeté et que le geste saisi est vu, c’est comme si ces sujets nous saluaient, depuis le passé, dans le moment présent de la projection. Ce film est un hommage à l’homme derrière la caméra, celui qui a constitué ces archives familiales personnelles : le père de l’artiste, qui lui a laissé, au-delà de la mort, cet héritage fait de traces de vies passées.

Après un exil de 30 ans aux États-Unis et ailleurs, la cinéaste Louise Bourque est récemment revenue s’établir à Montréal. Ses films ont été projetés dans une cinquantaine de pays et diffusés sur les ondes de PBS et de Sundance Channel aux États-Unis, ainsi qu’à Télé-Québec au Canada et SBS en Australie. Son œuvre a été présentée dans des musées prestigieux et des galeries dans le monde entier, notamment au Musée de la Civilisation et au Musée national des beaux-arts du Québec à Québec, à la National Gallery of Art à Washington, au Museum of Modern Art et au Whitney Museum of American Art à New York.

A seemingly disembodied voice reflects on what it takes to survive, in a world modeled after a perception of reality far from what the one it experiences on a daily basis.

Nelson Bourrec Carter is a French-American filmmaker and visual artist. His practice combines photography, film, installation and performance while his research revolve around the links woven between real territories and fantasized landscapes, whether they be urban, peri-urban, or rural, influenced by the weight of popular imagery. His work focuses mainly on the influence of American iconography on identity construction and racial awareness, and operates from places whose hybridity, history or architecture lend themselves to a new interpretation. He demonstrates that these visual tropes are more interconnected than they appear and that they articulate questions of gender, race, and class, while raising the issue of which bodies - whether they are embodied or inscribed in a ghostlike manner within the architecture - occupy the spaces of representation in the American cultural economy. Nelson’s films have been shown in festivals such as New Directors/New Films, Entrevues Belfort, Vila do Conde or within institutions like the Cinémathèque Française or the Jeu de Paume.

Supercharger-blown collective offers ‘Easy Asylum Booth ‘Bundu Edition’’, a satirical and situation specific, modular presentation which interrogates European asylum policies, (and attitudes to immigration as a whole) by inverting hegemonic narratives. The collective uses provocative spectacle as a vehicle to facilitate social engagement, partying, shisha smoking, music and political dialogue. Easy Asylum Booth ‘Bundu Edition’ is another chapter in the shifting, magical-real vision derived from the fictitious nation of Botrovia. The booth is a ‘pop up embassy’ offering instant refugee status to anyone seeking asylum in Botrovia. Applicants just need to demonstrate their loyalty by offering 7 x 7cm of their skin for a tattoo specially chosen for them by Skin of our Skin (SooS®), the Botrovian Ministry of Immigration and executed by a flying robotic tattoo gun. Benefits to refugee status include a direct telephone connection with the Botrovian Leader (‘Our Leader is Available’); Training in ‘DASHT (Drone Asylum Seeker Herding Techniques)’ with a fully featured computer game; a lifetime subscription to ‘Botrovian Seeker (Your Guide to Asylum Success)’ plus access to numerous helpful and supportive infographics, interviews and seminars. The project and multicultural collective are formally partnered with Oasis Cardiff, an asylum seeker and refugee charity.

Supercharger-blown collective is a group of artists, scientists and thinkers from a range of cultural backgrounds. Formed and led by the artist Ric Bower their knowingly complex, multi-disciplinary practice often assumes the appearance of an elaborate practical joke and usually explores issues relating to European asylum policy through magical-real narratives. Supercharger-blown collective’s influences include the magical-realism of Murakami and Bulgakov: the satirical illustrator Heath Robinson and the 19th century history painter Thomas Cole. Bower says of Supercharger-blown collective’s approach: ‘...we do not want to make work that sits quietly, meekly waiting to be observed. We mean to make madness that follows you out of the gallery space, slithers into the back seat behind you and shanks you as you drive home.’

Memory Gate shows desolated Herzegovinian landscape with a forgotten monument dedicated to pilots of Yugoslav National Army during the Second World War. Critical deserted landscape followed by weird sound and music called ganga* which is typical for that region of the south part of Bosnia and Herzegovina. This video confronts utopian modernistic Yugoslavian architecture with a traditional sound and landscape, creating a very disturbing and eerie cinematic experience. *Ganga - stands for old traditional folk music and singing which is usually played by a group of old men.

Igor Bošnjak (b. 1981 in Sarajevo, Yugoslavia) lives and works in Trebinje (Bosnia & Herzegovina). As an interdisciplinary artist, he works on visual, cinematical, geographical and documentary research addressing archives, maps, migrations, monuments, history and image-time relations as key refference in the experience of contemporary society. He is mainly working within the media fields of contemporary art: moving images, video, 3d animation, installation, objects, drawing & photography. In 2005 he finished Academy of Visual Arts (BA) in Trebinje, Department of Painting. From 2007 to 2008 he finished (MA) Interdisciplinary studies, Theory of Art & Media Department at the University of Arts in Belgrade, Serbia. From 2006 to 2016 he was founder and curator of namaTRE.ba project biennial. From 2009 works as a professor at Academy of Visual Arts in Trebinje, University of East Sarajevo on courses of Intermedia art, Video art, Digital art. From 2019 to 2021 he was working as visiting lecturer on Faculty of Fine Arts, Cetinje, University of Montenegro.

Soft voices and soothing sounds will take the audience on a sensory audiovisual journey through a dystopian near future. The resulting work is based on the collaborative composition and exploration of intimate fears and tribulations related to current climate change narratives, and represented through the implementation of the experimental ASMR methods presented at the “ASMR for earthly survival” workshop held by the artists. “ASMR for Earthly Survival” explores the potential of ASMR (Autonomous Sensory Meridian Response) as a tool for the creation of intimate science fiction storytelling narratives.

S()fia Braga is an Italian transmedia artist who lives and works between Vienna and Linz, conducting artistic research that combines digital and post-digital practices. Her work is focused on exploring new technologies to create speculative fabulations that delve into themes such as transhumanism, human and non-human collaboration and non-human agency. S()fia’s identity constantly changes and goes hand in hand with the narratives she creates: over the last years she has been an artist, a transhumanist entrepreneur, an AI auteur, a cyberstalker, and has mutated several times into a monstrous creature. Matthias Pitscher works as an artist, designer, meditation teacher, barista, researcher, entrepreneur and bad influencer. The artifacts he produces deal with the constant changes we face in our transition to a technologically connected society. Analytical yet humorous, he demonstrates how digital media transforms our perception of reality. Fabricio Lamoncha is an artist, designer and researcher from Spain, currently based in Austria. Since 2018 he is lecturer and PhD researcher at the Kunstuniversität Linz. Also member of the Art|Sci Center at UCLA (Los Angeles) and co-founder and organizer of the Leonardo Laser Talks Linz. His practices explore the entanglements of media ecology and bioethics.

Rien ne se perd, rien ne se crée – tout se transforme. L’héritage de l’esclavage dépouille ceux pris dans son cauchemar étouffant de la plénitude d’une vie. A travers des images tantôt en mouvement, tantôt statiques, la réalisatrice Charlotte Brathwaite en collaboration avec le photographe Malick Welli imagine les rêves et les cauchemars de l’érudit fait esclave Omar ibn Said. A travers des projections en mouvement et des photographies en grand format, l'œuvre se déploie comme une mélodie fantôme du cinéma. Elle fait le lien entre l’esprit volé de Said et la présence vivante de ses ancêtres, traversant l’océan, traversant le temps et l’espace. FORGOTTEN PARADISE transforme les ténèbres de la captivité en lumière : celle de la liberté, et d’une famille aimante.

Creator/Director CHARLOTTE BRATHWAITE is the recipient of a Doris Duke Award, Art Matters Award, Creative Capital Award, Pew Center for Arts & Heritage Fellowship Grant, a United States Artist Fellowship, multiple Map Fund Awards and the Princess Grace George C. Wolfe Award amongst others. Brathwaite’s genre-defying work illuminates the realities and dreams of marginalized people; people whose stories have been silenced, disappeared, and ignored. Dealing with subject matter from the historical past to the distant future, her work brings to light issues of social justice, race, power, and the complexities of the human condition. A director of classical texts, multimedia, site-specific works, dance performances, operas, concerts, film, and installations - her trans-disciplinary inquiry manifests in spectacles of color and music. Her works – presented across the globe from North and South America, Europe, Africa, Asia and Australia – live in the deep time of aural/oral history and create an immersive experience for audience and performer alike which offers new perspectives in both form and content. MFA from Yale School of Drama and BA Amsterdam School for the Arts (the Netherlands). As an educator, she has taught and mentored at several institutions including the University of Fortaleza (Brazil), Barbados Community College (the Caribbean), Massachusetts Institute of Technology, Amherst College, New York University, Stanford University amongst others. www.charlottebrathwaite.com ________________ Malick Welli is a Senegalese visual artist who lives and works in Dakar, Senegal. His work addresses themes of duality, spirituality, history and the restitution of memory, pedagogy and displaced identity. Welli is interested in the convergence of religion and material influences, economics and power dynamics, and how these elements shape visual culture. There's a quest for ecology and interdependence, and how seemingly independent events coincide and influence each other. Welli contrasts these material concerns of the community with individual spiritual needs. Welli's work has been collected and exhibited worldwide: "In Brilliant Light" at the Afrika Museum in Berg en Dal and MuseumVolkenkunde in Leiden, Netherlands (2023-2024); "Insistent Presence: Contemporary African Art from the Chazen Collection" at the Chazen Museum of Art, Wisconsin, USA (2023); 1.54 Contemporary Art Fair, New York, USA (2023); "Sur le fil... " at 19M in Paris (2023) ; 1-54 African Contemporary Art Fair , Marrakech, Morocco (2023) ; Art x Lagos, Nigeria (2022), "Lightness of Being" a solo exhibition at Galerie Atiss Dakar (2022) ; "Les Invincibles" at the Biennale de Dakar (2022) ; Blackstar Film Festival, Philadelphia, USA (2022); 1- 54 Contemporary African Art Fair, New York (2021); EXPO CHGO, Chicago, USA (2019); Cairo Biennale, Egypt (2019); "Saint-Louis to St Louis", Barret Barrera projects, Missouri, USA (2019); AKAA: Also Known As Africa fair, Paris, France (2018); "Pour les Noirs et pour les Blancs , Hierro Desvilles Gallery, Lille, France" (2016).