Catalogue 2023-2024

‘The Other, can I lift the border?’ is a hybrid documentary in which the filmmaker, Lydia Rigaux, and performer Luanda Casella explore how the perceived border between the self and the other can be lifted. During a fictional trip to Le Havre they reflect on the subject. In additional calls and talks we hear personal stories how the interviewees experience their relation towards others.

Lydia Rigaux (1980) is a filmmaker born and living in Ghent, Belgium. Her work navigates between fiction and documentary. An idea can develop from a story or reality. Yet during the process of making the film the line between those two becomes thinner. Fictional or real elements introduce themselves equipollent. The films she makes have tense subjects like trauma, marginalized communities, destruction, lethargy. But Lydia translates these topics in a poetic way, making them a visual experience that connects with the viewer.

It is hard to picture the scale of the iron industry of the Weald today. A large amount of the violence inflicted upon the landscape has healed, only expressing its scars when you know what to look for. However, beginning in the early 16th century, vast quantities of iron were extracted from the area shaping the landscape, the human history and the nonhuman ecosystem to this day. Coppice (2022) is a film rooted in a feeling of psychic dislocation with land. This feeling lead Sam Risley to begin a practise of monthly visits to a small woodland called Cutaway Wood located within the Weald. What began as an attempt at re-enchantment, culminated in a film focused on the industrial history inscribed in the topography of the woodland. Coppice weaves together footage of a year spent watching Cutaway change with the seasons, with sounds captured both above and below the canopy, all the way down into the earth itself. The result is a film poem that conjures the ghosts of the landscape.

Sam Risley works across moving-image, installation, sculpture and written text. His work centres around narratives of renewal, with a focus on ecological restoration within landscapes shaped by violent capitalist practises. Friends, family and mythic or historical figures frequently populate his works. He has exhibited at The Baltic, The Horse Hospital, APT Gallery, Sluice Biennial, IMT Gallery and GAO Gallery among others and has had texts published by Ca-Foscari Press, Da Thirst and Morning Baby.

The change of the political system that occurred in Poland in the early 1990s brought not only hopes related to the social and economic transformation, but also anxieties and fears. At the time, such fears were treated as evidence of incompatibility with the new capitalist order and thus consistently relegated to the margins of public debate. The film is an attempt to recall the traumatic experiences of this period. In this context, the concept of trauma is directly related to the process of repression, the essence of which coincides with the naturalizing, hegemonic discourse which justifies the social costs of transformation as necessary on the way to modernization. "The Earth Will Swallow it All" is a story about Upper Silesia. It was based on the accounts of mining families, the archives of the Polish Film Chronicle, 3D animations and seismographic charts. The collected materials connect into a description of the social catastrophe, which is shown from the perspective of people who in the past were united by the working-class community.

Dominik Ritszel (b. 1988) active in the area of visual arts. Working with film and video instalations. B.A. Graphics M.A. (2013), doctoral degree (2020) graduated at the Academy of Fine Arts in Katowice. Winner of the scholarship Young Poland, listed on the Forbes lists 30 Under 30 Europe, Prize winner of the Trieste Contemporanea Award 2015. Lives and works in Katowice, Poland.

An exploration of the interconnection between ghost stories, tech company culture in South Korea, and the economy of logistics in Indonesia told through a notebook/premake film and dossier of an unmade techno-horror feature-length film set in between port in Jakarta and an unnamed employee assistance programme office in Seoul.

Riar Rizaldi works as an artist and filmmaker. He works predominantly with the medium of moving images and sound, both in the black-box of cinema settings as well spatial presentation as installation. His artistic practice focuses mostly on the relationship between capital and technology, labour and nature, worldviews, genre cinema, and the possibility of theoretical fiction. His works have been shown at various international film festivals (including Locarno, IFFR, FID Marseille, Viennale, BFI London, Cinema du Reel, Vancouver, etc) as well as Centre Pompidou Paris, NTT InterCommunication Center Tokyo, Taipei Biennial, Istanbul Biennial, Venice Architecture Biennale, Biennale Jogja, National Gallery of Indonesia, and other venues and institutions. In addition, solo exhibitions and focus program of his works had been held at Batalha Centro de Cinema, Porto and Centre de la photographie Genève amongst others.

A song about scavenging, economic exploitation and post-internet reality performed by a Georgian polyphonic choir and based on a story of Hayastan Shakarian - an elderly, illiterate woman from the village of Armazi near Mtskheta, who in 2011 allegedly cut the internet cable connecting Georgia and Armenia whilst looking for scrap metal to sell. The story became global news though Shakarian denied any involvement, famously saying she had never heard of the internet, and many people disputed its veracity. The lyrics were sung to the tune of Chakrulo, a medieval Georgian song about peasants preparing for armed rebellion against their feudal master. The song was sent into space in 1977 on Voyager 2.? Commissioned by Arts Territory for Myth exhibition, Artisterium Festival, Tbilisi (song), filmed at Fraunhofer Institute for Applied Optics and Precision Engineering IOF and supported by the DAAD Artists-in-Berlin program (video).?

Alicja Rogalska's practice is research-led and focuses on social structures and the political subtext of the everyday; she mostly works in specific contexts making situations, performances, videos and installations in collaboration with other people to collectively search for emancipatory ideas for the future. She recently presented her work at National Gallery of Art (Vilnius, 2023), Scherben, Berlin Art Prize (2022, winner), Manifesta 14 (Prishtina, 2022), Temporary Gallery (Cologne, 2021-22), Kunsthalle Bratislava (2021), Kunsthalle Wien (Vienna, 2020-21), OFF Biennale (Budapest, 2020-21), Art Encounters Biennale (Timis?oara, 2019), Tokyo Photographic Art Museum (2019), Biennale Warszawa (2019), Museum of Modern Art (Warsaw, 2019), Kyoto Art Centre (2019) and Muzeum Sztuki (?ódz?, 2019). Rogalska was a fellow of the DAAD Artists-in-Berlin program (2020-21), and took part in residencies at City of Women Festival (Ljubljana, 2019), Stuart Hall Library (London, 2019), Paradise AIR (Matsudo, 2018), Museums Quartier (Vienna, 2018) and IASPIS (Stockholm, 2017), amongst others.

Rien ne survit vraiment ici. Le fond est si profond qu’aucune lumière n’y pénètre jamais. Très peu de bateaux y passent. On ne sait pas quand les chutes auront lieu. Ce documentaire expérimental dresse le portrait d’un objet spatial et sa chute jusqu’aux ténèbres d’un cimetière spatial, une scientifique nous dévoile son attachement pour cet objet et l’absence d’images documentant ce lieu mystérieux. Voyage de Science-Fiction inversé, cet essai mélange archives réelles et fictives pour nous guider, tel un stalker, aux périphéries d’un lieu invisible.

Stéphanie Roland est une artiste visuelle et réalisatrice, basée à Bruxelles. Elle réalise des films et des installations qui explorent, entre le documentaire et l’imaginaire, les structures invisibles du monde occidental, les larges échelles du temps et les hyperobjets. ?Son travail est régulièrement présenté au niveau international, ses projets ont été inclus dans des expositions d'institutions majeures parmi lesquelles la Biennale de Venise, le Centre Pompidou, le musée du Louvre, le musée Benaki, la Biennale internationale d'art de Kampala, l’ISELP et le Wiels, entre autres.

I read in the writings of one painter that, for him, the Polish landscape seems to constantly draw our gaze to the ground, making us look not over the horizon but under our feet, at the bones buried beneath each step. The film shifts between a portrait of my eighty year old grandparents and my view on the elements and imagery of the national-Catholic narrative in the Polish landscape. The title “Ashes by name is man” is borrowed from a church notice board in Nowa Grobla, in Roztocze. At the centre of my explorations is the rage of hills Roztocze, while Krakow and Lviv form the boundaries of the area in which I was shooting.

Ewelina Rosinska (1987, Poland) holds an MA in Art History and is based in Germany and Portugal. Between 2013 and 2022 she studied at the German Film and Television Academy in Berlin (dffb), where she was a member of Ute Aurand's Bolex Workshop. Her Films were screened at Her DOCS in Warsaw, Courtisane Festival in Gent, International Film Festival in Rotterdam IFFR, at the Musée de la Photographie Charleroi or at the Museum of the Moving Image in New York. Her last film “Ashes by name is man” won Best Exis Award at the Exis Film Festival in Seoul.

Un homme filme le vivant. Il l’archive dans des préparations humides paradoxales . Des images en fluide qui pourraient lui survivre. En 2100, sa fille aura 86 ans. Il en aura 129.

Philippe Rouy est réalisateur. Sa trilogie consacrée à la catastrophe nucléaire de Fukushima, 4 bâtiments, face à la mer, Machine to Machine et Fovea centralis, a été présentée, entre autres, au FIDMarseille, Cinéma du Réel, Mumbai Film Festival, Torino Film Festival.

"Drifting Woods" is a filmic work that engages with the local histories of a dense forestland located two hours north of Stockholm. A forest has existed in this area for as long as records have been kept, and only in the last 250 years has it been extensively utilized for industrial production. Through a non-linear composition, the work brings forth the various stages of the forest's development: from the planting and cultivation of saplings, through the different phases of tree felling, to the production of paper pulp and lumber. The work captures how the forest is documented and consistently represented – through scientific experiments, data collections, botanical studies, and retellings of the area's history. The film conveys the histories of both local and migratory perspectives, showing how the expulsion of nomadic practices from the forest is closely linked to the forest's enclosure. What becomes evident through the film is that the capitalization of forests is intertwined with surveillance technology derived from racist ideologies. The work collaborates with biologists to gain a deeper understanding of tree life and its interconnection with the underground mycelium, forming what the biologist Suzanne Simard refers to as network topologies. "Drifting Woods" is also a network topology, connecting the forest with the narratives that inhabit it. Listening to the stories of this network also means hearing how the forest is portrayed and understanding that its future depends on how the forest's stories are retold within a broader narrative.

Pia Rönicke's work spans from film, prints, sculptures to objects, which together build narratives. Her work arises from perspectives of a drifting practice that opens up to new connections to land and ways of being present within an everyday, to zones where plant life transgresses existing borders of occupation. Collecting is a recurring aspect of her practice, the personal, ethical and political dimensions of it.

A tone-poem in blue and red by US artist and experimental filmmaker Ben Russell, Against Time is a visually staggering kind of cine diary, shot on various locations between 2019 and 2022. Trying to find a way through the fog of recent years, the piece plays with dissolving images, non-linear montage, modular synthesis, and a variety of looping techniques to reflect on how we experience time as a fragmented phenomenon. It results in hypnotic and beautiful experimental cinema that seems to mirror life in all of its interpersonal intricacies. (Rewire Festival 2023)

Ben Russell (1976) is an American artist, filmmaker and curator whose work lies at the intersection of ethnography and psychedelia. Russell was an exhibiting artist at documenta 14 (2017) and his work has been presented at the Centre Georges Pompidou, the Museum of Modern Art, the Tate Modern, the Museum of Modern Art Chicago, the Venice Film Festival and the Berlinale, among others. He is a recipient of a Guggenheim Fellowship (2008), a FIPRESCI International Critics Prize (IFFR 2010, Gijón 2017), and premiered his second and third feature films at the Locarno Film Festival (2013, 2017). Curatorial projects include Magic Lantern (Providence, USA, 2005-2007), BEN RUSSELL (Chicago, USA, 2009-2011), and Hallucinations (Athens, Greece, 2017). He is currently based in Marseille, France.

The End is unreadable titles created by a neural network and endlessly running on a black screen. The project is part of a series of works in which the authors experiment with symbols generated by StyleGAN and other networks. The artists train neural networks on letters of different alphabets, and the language they create is immersed in the context of familiar forms: manifestos, posters, and now titles. These projects continue the tradition of experiments in text and visual media started by Russian Futurists who used abstruse language in poetry (Alexei Kruchenykh, Velimir Khlebnikov, etc.) and Moscow Conceptualists with their interest in poetic experiences (Lev Rubinstein, Dmitry Prigov, Andrei Monastyrsky, etc.). In The End it is impossible to read the text created by the neural network, but the appearance of symbols, their sequence and general layout allow us to perceive a set of meaningless signs as the closing credits of a movie. It is important that in movies we rather recognize titles by their appearance than by their content. The credits are the final part of any movie, but usually no one reads them. The irony is that in The End project there are only credits, here they are a work in their own right, impossible to read. Nor is it possible to wait for it to end.

Andrey Rylov is a new media artist who works in a field of sound sculptures and installations using materials from hardware stores and DIY electronics. He performs with experimental music, creates video works using neural networks, as well. Andrey Rylov is a graduate of the New Media Laboratory, participant of multiple collective exhibitions and festivals: NUR festival (Kazan, 2021), Prepared Surroundings festival (Moscow, 2020 and 2021), Blazar fair (Moscow, 2021), Morpho festival (St. Petersburg, 2021), Adaf.gr (Greece, 2019), Ars Electronica (Austria, 2019), Pixels festival (Yekaterinburg, 2019). Maxim Mezentsev is a graphic designer, visual artist and VJ from Izhevsk, Russia. He works with interfaces, fonts, animation and makes video for experimental theater. He constantly collaborates with the Center for Contemporary Dramaturgy and Directing in Izhevsk, Russia. Maxim Mezentsev participated at the Pixels festival (Yekaterinburg, 2019), Intervals festival (Nizhny Novgorod, 2019 and 2021), Night of Light festival (Gatchina, 2019), Adaf (Athens, 2020), METAXIS festival (St. Petersburg, Nizhny Novgorod, Yerevan, 2022).

An old and wise woman sitting by the lake, reflecting on existence.

Remy Ryumugabe is an award-winning Rwandan filmmaker/ visual artist. His works, including /???RI/, Melpomene, Mnemosyne, From Here to There among others, have been selected and screened/ exhibited around the world like the Internationale Kurzfilmtage Winterthur, Uppsala international short film festival, Fribourg international film festival, International Kansk Video Festival, WNDX festival of the moving image, BIDEODROMO International Experimental Film and Video Festival, Africa in Motion Film Festival, Short Short Story Film Festival, Galerie Imane Farés, Museum Hilversum, Het Nieuwe Instituut among others and his two short films (“From Here to There” one that he wrote and directed and “Muzunga” that he produced) had their world-premieres in the International Competition of the 68th International Short Film Festival Oberhausen and From Here to There went on to be screened at more international film festivals like 41st Uppsala international short film festival where It received the Jury Special Mention, 15th Festival Internacional de Cine Africano de Argentina where It won Best Experimental film. His recent short documentary film “Each of her scars has a story” has been selected for the international short documentary of 26th edition of the Film Festival ÉCRANS NOIRS, 15th Festival Internacional de Cine Africano de Argentina and 8th Mashariki African Film festival. As a producer, he’s attached to different projects (in development or post-production) that have been participating in different labs or workshops around the world like Ouaga Producers Lab, Takmil the post-production workshop of Carthage International Film Festival, Yaounde Film Lab, Résidence d'écriture de Moulin d’Andé among others. He’s the co-founder of KIRURI MFN, an independent production company based in Kigali. He is also the co-initiator and curator of 250 Film Experiment Cine-Club, a cine-club based in Kigali, Rwanda.

Logline - A sensorial flow in Image and sounds of the rituals of the paiwan indigenous tribe in the village and forest, nature becomes a culture and the past becomes present. Synopsis - In Paiwan indigenous culture, smoke is the means of communication with their ancestors. The film constantly navigates into a series of folktales which create the illusion of past, present, dream and reality. In these oral tales passed on from generation to generation, we witness that humans are not the center of the story but a part of it. After decades of repression in Taiwan, Paiwan indigenous tribes are trying to revive their language and culture again, started practicing their indigenous millet crops, singing their own paiwanese songs and following the paths of their ancestors.

Sachin was born in the village of Kakora in Rajasthan's Shekhawati region, India. He utilizes Lens-Based arts to comprehend the world around him and express his ideas through an experimental approach. His interests lie in agriculture and rural communities, and he communicates his thoughts through audio-visual arts that are intertwined with various sociological and ecological contexts. Sachin's educational journey comprises a Bachelor's degree in Cinematography from Rohtak, India, as well as a Master's in Documentary Directing from DocNomads, spanning Portugal, Hungary, and Belgium. Additionally, he holds a Master's degree in Culture and Media Studies from the Central University of Rajasthan. Sachin has garnered prestigious fellowships, such as the Taiwan Pitch Grant in 2022 and the Erasmus Mundus Scholarship from 2021-23. His films have graced international festivals, including IDFA, BIFF, and IFFI, and have been exhibited at The Design Museum and the Kochi-Muziris Biennale. Sachin's diverse portfolio encompasses directing, filming, editing, and producing films, as well as contributing as a cinematographer, and delving into photography and XR projects.

From 2011-2015, Sada, an online and in person ad hoc art school, was set up in Baghdad to support artists working through the aftermath of US-led invasion and occupation. Nearly a decade later, former artists of Sada came together again, reflecting on their creative and disparate lives since that time. Artists Sajjad Abbas, Bassim Al Shaker, Ali Eyal, Sarah Munaf, and Rijin Sahakian each created video works, comprising one experimental, interconnected anthology film on individual and collective art practice in a protracted era of international warfare.

Sajjad Abbas is a multidisciplinary artist. Born in Baghdad, he graduated from the city’s Institute of Fine Arts in 2014. Since 2011, Abbas has created many graffiti works in Baghdad and has worked on almost ten films in the art department at the Iraqi Independent Film Center, where he was also a student. In addition to videos and films, he has completed two independent animation films. In his work, Abbas both creates and participates in political and social satire, protest, and community activism. Ali Eyal was born in The Forest, Small Abandoned Farm. He lives and works in no home yet. After earning a diploma from the Institute of Fine Arts, Baghdad in 2015, he studied from 2016 to 2017 at the Home Workspace Program, an independent study program launched by Ashkal Alwan in Beirut, Lebanon. Eyal’s work explores the complex relationships between personal history, transitory memories, politics, and identity, using a variety of mediums, with a focus on drawing transformed through other artistic modalities, such as text, installation, photography, and video. Sarah Munaf graduated from the Baghdad College of Fine Arts, Baghdad University in 2011, with a focus on sculpture and painting. She completed an MA in Sculpture in 2013. Her work explores form as one part of Iraq’s long history of production and formal education, and experiments with new forms of composition and storytelling. Munaf uses everyday objects as holders of history and as vehicles for a range of communal and personal experiences. She lives and works in Turkey. Rijin Sahakian (b. Baghdad, 1978) uses writing, art-making, and teaching to examine the relationship of images and rhetoric to experiences of violence. She founded Sada, an arts education initiative for Baghdad-based students, operating from 2010-15. Sahakian has lectured extensively on critical issues in the arts, organized public exhibitions and seminars, and was a visiting professor at the California Institute of the Arts. A Fulbright, ArtMatters and Open Society Foundation Fellow, she has contributed texts to e-flux Journal, n+1, Artforum, Mutanabbi Street Starts Here, Warscapes, and World Records Journal. Bassim Al Shaker is an Iraqi artist based in the United States. Bassim was born and raised in Baghdad during a period of political conflict and humanitarian torment. He received a BFA from the Baghdad College of Fine Arts, Baghdad University with a focus on drawing and painting. His style is the culmination of a background in academic drawing and painting techniques and the exploration of contemporary art. Bassim obtained an MFA from the School of the Art Institute of Chicago.

"A bee stung me on my finger. It happened yesterday in the yard of a kindergarten, even though I am not in kindergarten anymore.” Fragmented memories of childhood and adulthood blend together in a song that an unknown narrator is humming.

Azar Saiyar (b. 1979) is filmmaker and visual artist whose art has been shown at film and media art festivals (e.g. Berlinale Forum Expanded, DOK Leipzig, Rencontres Internationales Paris/Berlin), galleries, exhibitions, museums and on television. She often uses archive materials and plays with images and words of our collective memory.

A sensorial, left-field take on Thai political history that moves between a subdued past etched in the landscape of Khao Kho mountain, once a stronghold of communist insurgents, and a dynamic near-present marked by Bangkok’s 2021 anti-government protests.

Taiki Sakpisit is a filmmaker and visual artist working in Bangkok. His works explore the underlying tensions and conflicts, and the sense of anticipation in contemporary Thailand, through precise and sensorially overwhelming audio-visual assemblage using a wide range of sounds and images. His films produce heightened and uneasy modes of spectatorship that often relate to the tumultuous socio-political climate in Thailand. Taiki’s moving images and experimental shorts have been presented at numerous exhibitions and film festivals. His feature length film The Edge of Daybreak premiered at the International Film Festival Rotterdam in the Tiger Competition and won the FIPRESCI award. His film, A Ripe Volcano was presented at Les Rencontres Internationales in 2014.

La Reprise (Dérive) is an exercise in continuity and distortion. This experimental film began on June 20, 2020. As of September 3, 2023, it is 168 min / weeks long. Every week, a subsequent minute is produced by combining scenes shot that week with archival material from the past years. Footage and sound are consistently recorded with the same single device (an iPhone). The film may distort, but there is always a presumption that something exists, or did exist, which is what was recorded. The sequences are neither true nor false, they integrate various degrees of theatricality and authenticity. They become portraits of an agitated immersion in the perpetual process of being, of this unpredictable yet systematic gathering and indexing. They are the record of close observations. I am a passenger, a witness to recurrences and patterns. This continuous collage of archives is the tension. The narrative is disconnected from the sum of its parts and elaborates on successes and failures. In this regard, the film is in a constant state of being finished, rather than interminably in progress. While its length progressively evolves, it also always is its final duration. This work is meant to continue until my death.

Fette Sans is based in Zagreb and in Berlin. She has a conceptual and interdisciplinary practice that includes the production of images, writing, performances, online gestures, film-making, discussions, and installations. Games of dissociative identities and the stories we tell ourselves to collect evidence of what has happened are recurring components in her work. She is interested in the ambiguity of what constitutes an image’s residue. Concerned with social systems, representation, and technology, she develops obsessive rituals, collaborations, and speculative narratives to question these issues. Rituals are interesting because there are ways of expressing repetition and the longing for security while accepting the risks associated with the very act of ceremonial reiterations: boredom itself.

Six avenues, in south-central Montreal, revisited.

Since completing his studies in film production at Concordia University, Roberto Santaguida’s films and videos have been shown at more than 400 international festivals, including Tampere Film Festival (Finland), CPH: DOX, Copenhagen International Documentary Film Festival (Denmark), Contemporary Art Festival Sesc_Videobrasil (Brazil), Flickers' Rhode Island International Film Festival (United States), transmediale (Germany), and Message to Man (Russia). Roberto is the recipient of the K.M. Hunter Artist Award, the Chalmers Arts Fellowship and a fellowship from Akademie Schloss Solitude in Germany.

Shabnam unfolded a research on my colonial history in relation to Muslin where I tried to visualize a certain nerve-racking situation when people from a certain part of the world reflect an accumulation of knowledge and wealth. Sometimes the monumental museum display gives a strange complexity. The difference between the one who needs to rumble around archives all around the world to connect the threads between past and present and one who gets everything compiled and labelled is an important one. By process, Shabnam is like a patchwork. The idea was cautiously extended over found images and sounds. Here, the Bangla language is a part of the sonic experience; that is why the subtitle is always coming later as part of an image. I think the sonic experience of the film is something to bear the uneasiness about unequal relationships and exchanges that we have in this world. The drawing of the Bangla letters or the sound of the language played a pivotal role in telling disturbed cartography. What was a work about cotton and lost heritage, has reached me to few questions. How do you visualize the feeling of ‘other’? How do you visualize the churn in your stomach when you find yourself in front of unresolved loss?

Reetu Sattar is an artist and film-maker, based in Dhaka, Bangladesh. Her practice, both performative and experimental in nature, questions human perception and imperceptible nature by re-examining history and the creation of knowledge. In a constant dialogue with immediate surroundings, her work engages with the poetics of environments and explores inner urges for change, perception, (re)relation to body and matter. Born in Dhaka Reetu works and lives in Dhaka. Her recent exhibitions include Istanbul Biennial, British Textile Biennial, International Film Festival Rotterdam, Liverpool Biennial, and Dhaka Art Summit as well as venues including the British Film Institute, London; Alserkal Avenue, Ishara Art Foundation, Dubai; Artspace, Sydney; Palais de Tokyo, Paris and NTU CCA Singapore. Her performances have been staged internationally at venues in London, Birmingham, Bangkok and Goa. Reetu’s first film premiered at International Film Festival Rotterdam, in 2019 and the second film Shabnam premiered at the latest IFFR. Reetu’s performance installation programmed in Spring 2020 will be presented at The Museum of Modern Art, New York on a date forthcoming. Reetu Sattar is a member of Britto Arts Trust, an artist collective based in Dhaka. She also works with Dhaka-based theatre group Prachyanat. Reetu is currently in an 11-month residency at Jan Van Eyck, Netherlands.

Kirill Savchenkov, born in 1987 in Moscow, currently lives and works in France. He works with various media including mediated sculpture, installation, performance, and sound. His artistic practice raises the questions of agency, identity and autocracy in the tech-social milieu. He was nominated to represent Russia in the national pavilion at the 59th Venice Biennial in 2022 but withdrew from the project in protest over the full-scale Russian invasion of Ukraine. Over the years, his works have been presented in institutions such as Transart Festival, Italy, 2022; 14th Baltic Triennial, Lithuania, 2021; Garage Museum of Contemporary Art, Russia, 2021; V-A-C Zattere, Italy, 2019; 12th Gwangju Biennale, South Korea, 2018.

Audrey joins a participatory isolated workcamp where Kathleen, Laurence and Baptiste, volunteers from different backgrounds, live and work under the supervision of Aymeric. In a group marked by its disparity, each one tries to find one’s way around, to form bonds and to create a community.

Brieuc Schieb graduated from Paris Arts Déco. His work moves between films and installations. His projects are built around characters, environments or pre-existing materials. His first short fiction “La Tourbière” premiered at FID in 2019 and was screened in numerous festivals.