Catalogue 2023-2024

We listen to music and are on the way. In doing so, we see things and the world differently than before. So that things don't always go on like this, but may become better: Two boys meet on a train ride. Something is born – not much and yet everything. Enjoy a Golden Hour Carousel Ride. A Common Sensations Music Movie.

Nicolaas Schmidt lives and works as Filmmaker, Video- and Concept Artist in Hamburg, Europe. He studied Fine Arts, Time Based Media and Visual Communication (Film) at Hamburg Academy of Fine Arts. His works are shown at international film festivals, exhibitions and other contingencies.

‘Green Storm’ depicts actors and filmmakers rehearsing scenes in a tree nursery situated at the edge of the desert in Egypt. The film’s location is a metaphor for a traditional green screen studio. ‘Green screens’ are primarily used in filmmaking to replace or remove specific backgrounds. While filming in green screen studios, actors can’t directly interact with their surroundings; the consequences of their actions become evident only in post-production. In the film, the ‘green screen’ metaphor is a critique of our relation to nature - one where we don’t immediately see or understand the impact of our interactions. Today, the lush greenery serves as a backdrop of political discourse. This film explores the uncanny green connection to examine the politics of screening and greening. Between natural disaster films announcing dramatic upheavals and the shocking announcement of current climate scientists, the boundaries have become very blurry.

The collectif_fact comprised Annelore Schneider and Claude Piguet. They live and work between London and Geneva. Their projects, mainly video based, are often a deconstruction of what we see as cinematic codes within our visual culture. They are fascinated with the daily repetition, stereotypes and clichés that suffuse our popular culture. They deal mainly with aspects of (anti)spectacle, simulacra, and appropriation. To do so, they investigate the ways that narrative can be appropriated, disrupted, and re-edited to construct different stories and alternative meanings. Their videos frequently use the spectator’s ability to construct stories from ruptured narrative fragments. In fact, their videos weave together a complex mesh of references: fragments of dialogues, citations, and music extracts. A collage of recognizable, familiar images with a multitude of allusions to cinema classics. Collectif_fact play with our desire to be gripped and even deceived by images and stories. By creating works that appropriate cinematic codes and strategies, they encourage the viewer to reflect critically on the habits that condition our perceptions of reality. The artists are represented by Wilde Gallery, Geneva www.collectif-fact.ch

Micki rides across the night through a palm forest. With the quiet and the loneliness, the repressed heartbreak pushes to the surface and Cassi becomes real. Like two homopolar magnets charged with their tangled traumas, they fail to find each other this time once again. But at dawn the wounds heal. Cassi disappears and the last video is deleted. But you can't force goodbyes, because feelings are real.

Gianna Scholten is a writer and filmmaker from Switzerland and Germany. She graduated from the German Film and Television Academy Berlin (dffb) in 2020 and continued her studies at the Academy of Media Arts Cologne (khm). During her time at the khm, she dedicated herself to creating film projects and radio plays. Her work has been awarded the Prix Alice Guy Prize of the FID Marseille and the New Signs Award of the Film Fest Lago.

Two giants that exist here - a German fairy tale confronts us with the right-wing spiritual movement in Germany, which gained a strong following during the COVID-19 pandemic. In symbolic encounters, such as a train ride passing by the Lorelei, underscored by Wagner's Ride of the Valkyries, original audio recordings from the scene of right-wing extremist conspiracy are juxtaposed with the visual aesthetics of German fairy tales. In reference to Grimm's "Hansel and Gretel," the film explores the unsettling transformation from innocent belief in gnomes and fairies into the dangerous realm of belief in a Jewish world conspiracy. The question arises whether the comforting spiritualism is merely a Trojan horse for an anti-Semitic, racist, and misogynistic worldview.

Gianna Scholten is a writer and filmmaker from Switzerland and Germany. She graduated from the German Film and Television Academy Berlin (dffb) in 2020 and continued her studies at the Academy of Media Arts Cologne (khm). During her time at the khm, she dedicated herself to creating film projects and radio plays. Her work has been awarded the Prix Alice Guy Prize of the FID Marseille and the New Signs Award of the Film Fest Lago.

F begins to follow two young anarchists who sporty usurp abandoned commercial storefronts and apartments. These three strangers will become closer after subtle acts of trespassing and sporadic forays into civil disobedience. The longing for exile and the fantasy that a promising future is somewhere else contaminates F. The city is immersed in an eternal holding pattern, becoming into a singular artifact, as melancholy as uncanny.

Alan Martín Segal was born in Buenos Aires, Argentina. He is an artist and filmmaker whose work has been presented in various international institutions, galleries, and biennials including the Hessel Museum of Art, Annandale-on-Hudson, New York; Buenos Aires Museum of Modern Art; BIENALSUR, Buenos Aires; The Kitchen, New York; and SculptureCenter, New York and Dia, New York. His films have been featured in film festivals such as the New York Film Festival; Vienna International Film Festival; FIDMarseille; Rencontres Internationales, Paris/Berlin; Jeonju International Film Festival, Korea; and Festival Internacional de Cine de Mar del Plata, Argentina. Segal lives in New York.

The Other is a thought provoking video work that takes viewers on a journey through the intricate realms of estrangement, the search for identity, and the indelible marks left by colonial history in our society. At its core, this video work delves into the intricate and often unsettling emotion of estrangement—the feeling of disconnection from oneself and one's surroundings. It poetically explores the ways in which external influences, societal pressures, and personal quests for self-discovery can blur the lines between self and 'other,' giving rise to a compelling examination of identity. Against the backdrop of these personal and emotional explorations, "The Other" unearths the deep-rooted colonial history that continues to shape our collective consciousness. It sheds light on the suppressed narratives, silenced voices, and uncomfortable truths that underlie our societies.

Carla Chibude Seidemann is an interdisciplinary artist specializing in film and photography. Currently enrolled in the VAV-Moving Image Programme at Gerrit Rietveld Academie. A standout accomplishment in their career is the self-publishing of "Visual Diaries," a research magazine that explores the intersections of art, culture, and society, encouraging readers to foster empathy towards their surroundings and to be part of a broader conversation. www.visualdiaries.info In addition to their academic pursuits, Carla Chibude Seidemann has gained practical experience as an assistant at Zaafar Jewelry NY, contributing their creative insights to the world of design. Through their work in film and photography, Carla Chibude Seidemann aims to capture the nuances of human emotion and the intricacies of the human experience.

There is in nature, a mysterious and complex mathematical system that repeats itself over and over again, an underlying geometric pattern in forms as disparate as clouds, mountains, trees or our own circulatory system. Its distinctive feature is self-similarity, the same configuration that is repeated at different scales, branching out infinitely. There are those who believe that it is “God’s fingerprint”, “the absolute truth of the universe”.

Sebastián Seifert is a multimedia artist, designer and music producer. He has lived and worked in Barcelona since 2002. His career has developed at interdisciplinary points of convergence, maintaining digital electronic poetics as the support, concept and format of his productions. He has an International Master’s Degree in Media and Interactive Systems at the Autonomous University of Barcelona and ESDI (2002) and the Design, Image and Sound Career at the University of Buenos Aires (UBA). In the field of media art, he has developed net-art projects, interactive installations and multimedia performances, serving as curator of these languages ??at the «la Caixa» Foundation (Barcelona) from 2003 to 2011. With the audiovisual project “Microfeel ”, the artist highlights his transdisciplinary vocation, creating worlds that combine visuals and sound. He has taken his audiovisual concert to festivals like MUTEK (ES/AR/MX), SONAR, SZIGET, CTM, FILE and AMURAL, among others.

The film is about the director's attempt to stage a play, a series of unexpected events has inexplicable results for the actors. At the same time, the egg is constantly lurking between the directors and the actors.

Stratos Serafimidis(1997) was born and live in Drama,Greece.He studied at the Department of Visual Arts and Art Sciences of the School of Fine Arts University of Ioannina. He has participated in group exhibitions and in various research projects.Currently, he is studying in M.A in Digital Arts at Athens School of Fine Arts.He lives and works in Athens,Greece.

This is a metaphorical story about two young skaters who are trying to make sense of themselves in the world.

Installation Synopsis: Great Bear Money Rock traces how the land and the life of local Indigenous communities overlap. The Lake Is a Cup (16mm film, 2021) considers the material memories retained by the lake: What stories may be told by these waters if we become attuned to this more-than-human body? Made collaboratively, views of the ghost mine, Dél?n?, and the lake, are splintered by projection through a water bottle balanced on a long, narrow prism. Like water, but also like bodies, the film accumulates radioactivity. The installation is permeated by the mechanical sounds made by the projector in an almost-organic cadence that constantly brings us back to our own bodies. Retracing the narratives conserved in the waters of the lake and in the rocks strewn around the landscape, Great Bear Money Rock exposes the imperceptible—that which evades our senses but whose effects are nonetheless profoundly physical. Other installation elements of Great Bear Money Rock include a garden of crystals from the site of the mine, enclosed in glass bubbles to contain the weak radioactivity they emit. Even though the glass is fragile, it plays a doubly protective role: it keeps us from contact with the ore, and it preserves the territory in its translucent showcase—territory threatened by human activity. Large-format prints placed on structures show the heaps of stones that cover the abandoned mine. Assembled field recordings, in sync with the projection, inundate these rubbly landscapes.

Erin Siddall (lives in Vancouver, Canada) is a visual artist whose work encourages the viewer into thinking about the embodied experience of looking, beyond the subject at which they are looking. Erin’s practice also considers the photographic representation of the unrepresentable through invisible environmental hazards, hidden histories and traumatic events. She holds an MFA from the University of British Columbia and a BMA from Emily Carr University, both Vancouver, and has shown at venues including the Toronto Biennial of Art; Momenta Biennale, Montreal, the Vancouver Art Gallery; Gallery 44, Toronto; the Burrard Art Foundation Studio, Vancouver; and Nuit Blanche Saskatoon. Ts??m? Igharas (Tahltan First Nation, born in Smithers, Canada) is an interdisciplinary artist. She uses a potlatch methodology to create conceptual artworks and teachings influenced by her mentorship in Northwest Coast formline design at K’saan, her studies in visual culture and her time in the mountains. Ts??m? attended Emily Carr University of Art and Design (ECUAD), Vancouver, and received an MFA from OCAD U, Toronto. She won the 2018 Emily Award for outstanding ECUAD alumni and is one of the twenty-five 2020 Sobey Award winners. She has shown and performed in various places in Canada and internationally in Sweden, Mexico, USA and Chile.

“August Procession” is about different tempos co-existing at the same time. The light from windows registers the passing of time in the abandoned factory building, the speed of the bus determines the length of the passengers’ conversation. The minutes have been counted until sunset. And then there’s memory time. Time to recall. Perhaps to celebrate together and feel a sense of belonging. “August Procession”, filmed in Narva area, enters into a mental dialogue with events that occurred at the eastern border of Estonia and the European Union in August 2022. The central theme in local news was the plan of the removal of the tank monument to the Soviet ‘liberators’, erected 52 years ago. Local habitants were used to see the tank on the plinth nearby the road while driving to the beach. The tank was removed on 16 August by the Estonian government, due to various tensions, caused by the Russian war in Ukraine and dramatically changed geopolitical situation. Several Russian speaking people in Narva fell into mourning because the tank was an important souvenir for them. The religious procession took place a week later, from a retreat to a famous orthodox monastery in the area.

Liina Siib is a visual artist, filmmaker, educator and curator from Tallinn, Estonia. She has studied printmaking and photography at the Estonian Academy of Arts, photography and video in exchange at the University of Westminster in London. Currently she works as the Professor of Graphic Art at the Estonian Academy of Arts. Film, photography and installation as her main interests, she explores various manifestations of people’s everyday practices and social space. Her works deal with characters, spaces and situations that tend to go unnoticed due to their ordinariness or are silenced or ignored. She has made experimental documentary videos and staged short films that have been shown mostly in the gallery and exhibition context, sometimes using the format of expanded cinema. In 2011, her project “A Woman Takes Little Space” represented Estonia at the 54th Venice Art Biennale. Besides that her works have been shown at the international art biennales in Riga, Tallinn, Moscow, Rauma, Cerveira, Ljubljana and Rijeka. Recently, she has been artist at residence at the NART Narva Art Residency. Her work has been included in several public and private collections. In 2006 she received the Annual award of the Estonian Cultural Endowment. Full CV at: liinasiib.com/biography/

The Group Crit is a pedagogical and cinematic experiment - a satirical examination of group critique as a teaching form. By means of a LARP (live action role-playing game) created by the Norwegian artist/filmmaker Sille Storihle, students at the Kabelvåg School of Moving Images under The Arctic University Museum of Norway explore political currents in contemporary art. The students are players who develop their own stories within the game based on scripted characters, and everything is filmed by students in character. With its self-established rules of the game, The Group Crit challenges traditional forms of production, through a performative framework using diegetic documentation. A hybrid, heated and humorous experimental work taking the temperature on the art field as the arena for political debate.

Sille Storihle is an artist and educator based in Oslo, working primarily with moving images and printed matter. Their artistic practice encompasses a body of work in dialogue with queer archives and pasts, exploring relationships between power and performativity. From 2012 to 2020, Storihle ran the queer-feminist platform FRANK together with Liv Bugge. The platform originated as a salon, which developed into a wide range of projects in different locations with various co-curators. Their current research and work focus on live action role-playing games (LARP) as an artistic methodology in the production of moving images. They have exhibited at the National Museum, Oslo, 2023, 2022, 2014; M HKA – Museum of Contemporary Art Antwerp, 2020; Kunsthall Oslo, 2018, 2017, 2013; GiBCA – Göteborg International Biennial for Contemporary Art, 2017; Performa, New York, 2013; and Sharjah Biennial 11, 2013, among many others. Storihle holds a BFA from Trondheim Academy of Fine Art and an MA in Aesthetics and Politics from the California Institute of the Arts, Los Angeles. Since 2016, they have been Assistant Professor at Kabelvåg School of Moving Images, UiT The Arctic University of Norway, Tromsø.

A python slithers and curls over the abandoned control room of Chernobyl’s sister, the Ignalina Nuclear Power Plant, its radioactive core an unleashed monster that will slither through time for a million years. From Etruscan ruins and sunken cities to the most modern of underground repositories, director Emilija Škarnulyt? follows our attempts to bury the immortal. Addressing the epochal effects of nuclear technology on all levels, Burial follows the cycle of power, an eternal return, another serpent eating its tail.

Emilija Škarnulyt? (b. Vilnius, Lithuania 1987) is an artist and filmmaker. Working between documentary and the imaginary, Škarnulyt? makes films and immersive installations exploring deep time and invisible structures, from the cosmic and geologic to the ecological and political. Winner of the 2019 Future Generation Art Prize, Škarnulyt? represented Lithuania at the XXII Triennale di Milano. Recent solo exhibitions include Tate Modern (2021), Kunsthaus Pasquart (2021), and the National Gallery in Vilnius (2021). Her films are in the IFA, Kadist Foundation and Centre Pompidou collections and have been screened at the Serpentine Gallery, The Museum of Modern Art, New York, and numerous film festivals. She is a founder and co-director of Polar Film Lab, and a member of artist duo New Mineral Collective.

In the dead of winter, the gas flares and spectral sounds of an oil boom awaken the long-abandoned prairies and ghost towns of North Dakota.

Adam James Smith is a British filmmaker based in New York. His filmmaking practice spans rural and urban environments across China, Japan, and the United States. His first feature film, The Land of Many Palaces, on the Chinese "ghost city" of Ordos, participated in the Sundance Institute workshop and premiered at the 2015 Santa Barbara International Film Festival. The film then went on to screen at festivals and on television around the world, picking up awards in Moscow, Rome, and Kyoto. His follow-up film, Americaville, on the Chinese replica of Jackson Hole, Wyoming was sponsored by the Whicker's Foundation and the Asian Cinema Fund. The film was released in 2020 and has since been screened around the world at festivals and universities. Adam is currently completing a series of films documenting the diversity of the rural experience throughout the American heartland, including the country’s oldest Black rodeo in Okmulgee Invitational, the oil boom awakening the abandoned homesteads of North Dakota in Frontier Phantom, and Native American cowboys in Arapaho Pasture. Adam was educated in film at Stanford and anthropology at Cambridge, the latter of which he is currently an Affiliated Filmmaker at the university’s Visual Anthropology Lab.

Digital footage of the river near the filmmaker's childhood home is laser-printed directly onto 16mm film, creating a shifting, liquified halftone. Memory dissolves into the texture of time. The print bleeds onto the optical sound strip, the image obscuring the soundtrack. The landscape is impossible to return to.

Kate Solar is a filmmaker from Ottawa, Ontario, currently studying at NSCAD University in Halifax, Nova Scotia. She is interested in experimental documentary and the physicality of celluloid film. Conceptually, her work explores the intersections of landscape with memory, identity, and gender.

The Bacchanalian Ones, VR Experience for Oculus Quest 2 Inspired by ancient mythology, modern myth, and contemporary celebrity culture, The Bacchanalian Ones compares the historical myth with a satirical mash-up of the powerful self-absorbed who preen and wallow in a banal spectacle of their own creation. In a fantastically opulent setting of unrestrained hedonism, political, religious, and military leaders with ghoulish, bouffonesque appearances are surrounded by social elite sycophants like the devotees of the cults of Bacchus and Dionysus. Solmi’s phantasmagoric world of whirling space, jerking movement, and oscillating facades that strive to overwhelm the viewer’s visual field is pushed to extremes in a new interactive Virtual Reality installation. This work invites the visitor to enter the Bacchanal by donning a VR mask and manipulating two hand-held controllers in order to pick the perspective of one of his historical avatars. Newly empowered, and emboldened, the visitor is able to control the narrative, allowing them to experience the debauchery up close and personal through their embodiment of the avatar.

Federico Solmi was born in Bologna, Italy in 1973. Since 1999 he has lived and worked in New York. Solmi’s work utilizes bright colors and a satirical aesthetic to portray a dystopian vision of our present-day society. His exhibitions often feature articulate installations composed of a variety of media including virtual reality experiences, video installation, painting, drawing, and sculpture. Solmi uses his art as a vehicle to stimulate a robust conversation with his audience, highlighting the contradictions and fallibilities that characterize our time. In 2009, Solmi was awarded by the Guggenheim Foundation of New York with the John Simon Guggenheim Memorial Fellowship in the category of Video & Audio. Solmi’s work was included in the 100-year anniversary exhibition of The Phillips Collection, Seeing Differently, and in the Smithsonian National Portrait Gallery’s traveling exhibition, Outwin 2019: ‘American Portraiture Today,’ as well as the inaugural exhibition of the Ocean Flower Museum Island in Hainan Province, Danzhou, China. From 2016 to 2019 Federico Solmi was visiting Professor at Yale University School of Art, and Yale School of Drama, New Haven CT. Solmi was appointed guest critic at the Yale University School of Art for 2022.

Die Hörposaune (The Hearing Trombone) film / installation by Isabell Spengler, Antonia Baehr, Jule Flierl, Germany 2022 filmed in a visual installation by Nadia Lauro short synopsis Through a floating camera motion, the film invites us to enter a world with its own logic, passing through sensitive membranes, liquefied borders and openings between inner and outer spaces. Here we attend a reading circle or vocal performance in memory of the counter tenor and queer icon Klaus Nomi, one of the first public figures to die within the AIDS pandemic. Daydream-like, as if to save them from oblivion, the film delves into the guts of fantastical, queer body imaginations - with spit, panting, oral sounds, singing, and vulva-like paper flower arrangements, whereby anatomical representations are reinterpreted.

Isabell Spengler (director) is a film/video artist from Berlin. In her films, installations and performances she analyzes and mediates diverging constructions of realities, imaginary worlds and their representation. Since 2005 she has created a series of conceptual Expanded Cinema works in dialogues with other artists. /www.isabellspengler.net Antonia Baehr (director) is a choreographer living in Berlin. Her pieces explore, among other things, the fiction of the everyday and the theater. She has worked with scores for many years - as a way to connect and collaborate. Baehr is producer of horse whisperer and dancer Werner Hirsch (performer in Die Hörposaune). /www.make-up-productions.net Jule Flierl (director) is a dance and voice artist from Berlin. She develops practices that conceive of the voice as a dancer. She revives the legacy of Valeska Gert, avant-garde dancer from 1920's Berlin, who first conceptualized the term ToneDance: to dance with one's voice. Her practice unsettles the relationship between seeing and hearing. /juleflierl.weebly.com Nadia Lauro (visual installation) is a visual artist and designer based in Paris, who works across contexts including scenic spaces, landscape architectures, museums. She conceived set designs, environments and visual installations with strong dramaturgical power, thus generating new ways of seeing and being together. /https://nadialauro.com

Dans Spilliaert, la cinéaste Lisa Spilliaert explore son lien de parenté avec le célèbre artiste belge Le?on Spilliaert (1881-1946). Ce lien de parenté fictif – ou non – la prédestine-t-elle à une existence d’artiste ? Au rythme de son rap, elle lance la généalogiste fanatique en elle sur la trace de ses talents artistiques.

Lisa Spilliaert (°1990 à Tokyo) réside et travaille à Gand (BE). Elle est née à Tokyo d’une mère japonaise et d’un père belge. Après avoir vécu sa jeunesse à Tokyo, à 17 ans, elle a déménagé à Bruges. Sa fascination pour la généalogie et les interactions incessantes entre sa culture orientale et sa culture occidentale sont des motifs récurrents dans son œuvre, laquelle est principalement de nature autobiographique. Ses vidéos fusionnent vie et travail et confèrent à son histoire personnelle un fondement universel.

The essay film "In this silence I believe" gives us an ambient impression of the nightlife in a city disco. The guests provide the focus for documentary observations and the resulting investigation of a subculture. With an alienated sound design, the familiar elements at the club are viewed in an experimental cinematic way.

Born 1988 in Vienna, Austria. After visiting Vienna Filmakademie, he started visiting Artuniversity/ Timebased Media in Linz. Besides his own films, he is also working for other directors in differen departments.

Enregistré en France et en Allemagne, "CARCASSES OF ALL KINDS" est un enregistrement sauvage d'une discussion avec ma mère avant qu'il ne soit trop tard. Ma mère, malade, me racontait notre premier retour en Bosnie-Herzégovine, l'année qui a suivi la fin de la guerre. Mais cette pièce ne traite pas tant de la guerre que de fragilité, de mémoires, cicatrices et de départs. Voix et mots utilisé comme matériel sculptural, découpés, montés et mélangés à d'autres sons enregistrés. Ceux ci proviennent d’enregistrements réalisés dans le service de cancérologie du centre hospitalier d'Argenteuil, de frottement de vêtements, de découpe de verre et de métal, de martelage, d’une imprimante industrielle et de chants. Chaque été, ma mère avait l'habitude de couper de la lavande dans son jardin et de la placer dans des bas usagés. En triant ses vêtrements après sa mort, je les ai tous rassemblé un même sac. La vidéo est une plongée dans ce sac.

Marina Stanimirovic (1988, Argenteuil) est une artiste plasticienne française basée à Berlin. Elle a étudié le bijou contemporain à l'Ecole Boulle, à Paris (2007 - 2011), à lyon, et à Londres, où elle a obtenu un Master au Royal College of Arts(2011 - 2013). De la violence contre les femmes aux disparités sociales ou aux systèmes économiques dysfonctionnels, elle observe le laid, le beau, le triste, l'absurde et le traduit à travers des sculptures et installations comprenant la photographie, vidéos et expérimentations sonores. En 2022, elle crée DERIVAT, une plateforme qui invite à réfléchir sur le marché de l'art contemporain. Depuis 2023, elle fait partie du project space Gr_und à Wedding Berlin.

The Group Crit is a pedagogical and cinematic experiment - a satirical examination of group critique as a teaching form. By means of a LARP (live action role-playing game) created by the Norwegian artist/filmmaker Sille Storihle, students at the Kabelvåg School of Moving Images under The Arctic University Museum of Norway explore political currents in contemporary art. The students are players who develop their own stories within the game based on scripted characters, and everything is filmed by students in character. With its self-established rules of the game, The Group Crit challenges traditional forms of production, through a performative framework using diegetic documentation. A hybrid, heated and humorous experimental work taking the temperature on the art field as the arena for political debate.

Sille Storihle is an artist and educator based in Oslo, working primarily with moving images and printed matter. Their artistic practice encompasses a body of work in dialogue with queer archives and pasts, exploring relationships between power and performativity. From 2012 to 2020, Storihle ran the queer-feminist platform FRANK together with Liv Bugge. The platform originated as a salon, which developed into a wide range of projects in different locations with various co-curators. Their current research and work focus on live action role-playing games (LARP) as an artistic methodology in the production of moving images. They have exhibited at the National Museum, Oslo, 2023, 2022, 2014; M HKA – Museum of Contemporary Art Antwerp, 2020; Kunsthall Oslo, 2018, 2017, 2013; GiBCA – Göteborg International Biennial for Contemporary Art, 2017; Performa, New York, 2013; and Sharjah Biennial 11, 2013, among many others. Storihle holds a BFA from Trondheim Academy of Fine Art and an MA in Aesthetics and Politics from the California Institute of the Arts, Los Angeles. Since 2016, they have been Assistant Professor at Kabelvåg School of Moving Images, UiT The Arctic University of Norway, Tromsø.