Programme Paris
Samedi 23 novembre 2024

The game follows ideas such as design by subtraction. A world devoid of time and space where the great dichotomies of human thought no longer cast a shadow. A post-anthropocentric world with a non-hierarchical structure. Here we cannot orient ourselves, which defies our understanding in a refreshing way and makes us forget - at least for a few moments - who we are; where we come from; and that we believe we are of particular importance. Forced Amnesia follows a simple instruction pattern: explore and you will find. As it is devoid of language all we have to do is follow our instinct. What we learned in games that we played before. The idea for Forced Amnesia started 2023 as an art exhibition, which led to the development of a video game. Forced Amnesia is a game with focus on quiet moments, inspired by the concept of design by subtraction, philosophy introduced by Fumito Ueda. The game gives the player lots of space to navigate through. Forced Amnesia’s aesthetics moves through a stage of comforting uncertainty, the player does not know if they are above or under water, swinging or flying. This state, fused with a calm soothing musical score creates a space for relaxation and calm. Places that nowadays are getting increasingly harder to find. Forced Amnesia aims at an older generation of gamers. Gen X and Gen Y will be the first generation to grow old playing video games. As we slowly age, our lifestyle and perception changes, Forced Amnesia is there to accompany us.

Mary-Audrey Ramirez studied under Thomas Zipp at the University of the Arts in Berlin Germany from 2010 to 2016. In 2019 she was the recipient of the prestigious Edward Steichen Award in Luxembourg for her textile-based sculptural and pictorial works. Early 2025 Ramirez’s Qrst percent for art work will be Qnalized in Berlin Spandau. Her works have been shown in both solo and group exhibitions at institutions such as Casino Luxembourg, forum d’art contemporain, Luxembourg; Kunsthalle Gießen, Gießen; Dortmunder Kunstverein, Dortmund; TRAUMA BAR UND KINO, Berlin; Kai 10 Arthena Foundation, D sseldorf; Haus Mödrath, Kerpen; Margot Samel Gallery, New York City; Polansky Gallery, Prague and MARTINETZ, Cologne. She was also part of Esch2022+ARS ELECTRONICA, Luxembourg/Linz. “Ramirez creates a dense image of a world with her figurative representations in pictures, objects and games, It is a world devoid of time and space where the great dichotomies of human thought no longer play a role. A post-anthropocentric world that is not organised hierarchically. A world in which we cannot orientate ourselves, which defies our understanding in a refreshing way and makes us forget, at least for a few moments, who we are, where we come from and that we believe we are of particular importance” - (Annekathrin Kohout)

Part of the YOURS project, an assemblage of five short films dedicated to Chantal Akerman, STONE, HAT, RIBBON AND ROSE offers a strictly personal and decidedly fragmented guide to Brussels; this idiosyncratic city symphony takes us across different urban terrains and unveils each location’s visual and sonic wonders. Amplifying the film’s elusive, drifting quality are a series of one-person performances involving disparate objects in the city. Playful and sombre, quotidian and fantastic, Eva Giolo’s film is a tender love letter to Akerman’s work. (Hyun Jin Cho)

Eva Giolo is an artist working across film, video, and installation. Her work has been exhibited at Sadie Coles HQ, Harlan Levey Project, WIELS centre for Contemporary Art , MAXXI–National Museum of 21st Century Art, Kunstmuseum Den Haag, BOZAR Centre for Fine Arts, Palazzo Strozzi, Museum of Contemporary Art Antwerp, Kunsthalle Wien, and major film festivals like International Film Festival Rotterdam, Viennale, FIDMarseille and Vision du Réel among others. She is a founding member of the production and distribution platform elephy.

L’histoire fabuleuse mais vraie de Mary Read et Ann Bonny, pirates du XVIIIe siècle. Le jour où Ann a aperçu Marie pour la première fois, ses jambes n’ont pu que trembler.

Après des études de philosophie et d’histoire de l’art, Emily Curtis se tourne vers le cinéma et fait un Master avant d’intégrer la fémis dans le département Montage. Elle monte des films documentaires et de fiction, des histoires de corps, trouvant plaisir à expérimenter au sein de différentes formes d’écriture.

Benevolence is a film art installation in the form of a flicker film. The subject is the depiction of relationships between men and women in film. The work analyses and reveals the various forms of sexism, particularly benevolent sexism. The movement of the film unfolds like a love scene: starting with a seemingly innocent chase, it progresses into violence and ultimately culminates in an overwhelming display of love and submission. The film constructs a choreography using the mise-en-scène typical of classic Hollywood films from the 40s and 50s. Shots are divided into segments of 7 frames and interwoven with one another, creating a choreography of movement, a dance. By doing this, the film reveals the conventions in the ways men and women interact with each other in physical space. In doing so, the film not only questions the normative framework of that time but also challenges the cinematic conventions of today, as many of them are still in use.

Karel De Cock, born in 1982, works and lives in Brussels. He studied Audiovisual Arts at the Sint-Lukas Institute. In his film and photography work, he often reflects on the weight of social conformity. His practice is heavily grounded in research, drawing from popular culture, film, and media history. His photography takes a sociological approach, incorporating an observational element in an urban context. His central goal is to bring visibility to the unseen, emphasizing the extraordinary within the ordinary rather than seeking out exceptions. His work has been featured internationally in several exhibitions and museums, including, House Of World Cultures, Transmediale, Berlin; European Media Arts Festival, Osnabrueck; Centre Pompidou, Rencontres Internationales, France; Europalia Arts Festival, Belgium; Beirut Art Center, Lebanon; Museum M, Belgium and Courtisane, Belgium.

Nodes is a project analyzing spells as an example of control over another being. I focused on the violence of persuading somebody to fall in love. I have been considering casting a spell as an influential but not direct act for which specific tools or gestures might be needed. I chose orchids whose roots were used to influence another person, both when it comes to feelings and sexual activity. In the areas of today’s Poland and Italy, dried wild orchid roots were hidden under somebody’s clothes, or an orchid-based powder was added to goat milk which was supposed to help sexual arousal. On the contrary, nowadays, in a huge industrial space, hundreds of almost identical orchids run through a commercial line. Although the production is highly mechanized and managed by technology, the final sculptural touch on every flower goes through the working hands of females — they manually shape this organic material by adding artificial backbones and cutting off the rotten parts. The women use this intimate act to fit the normalized aesthetics. With Nodes, I am bringing attention to the powerful operations both in private and industrial environments by looking at the human element in them.

Female visual artist based in Warsaw. Graduate of the Studio of Spatial Activities by Miroslaw Balka at the Academy of Fine Arts in Warsaw (BA, MA, 2018), former student of Candice Breitz and Eli Cortiñas at the HBK in Braunschweig (Deutscher Akademischer Austauschdienst (DAAD) Scholarship for 2019/2020), and a guest by Adam Broomberg and Oliver Chanarin at the HFBK in Hamburg (2017/2018). She also obtained her BA in Cultural Studies at the University of Warsaw (2013). Currently participant of the Autumn Intensive at the Malmö Art Academy. She exhibited with Catinca Tabacaru Gallery at the Goethe Institut in Bucharest (2024), NS-Dokumentazionszentrum in Munich (2023), MOCAK – Museum of Contemporary Art in Krakow, Manifesta 14 Prishtina, eastcontemporary gallery in Milan (2022), Fabbri Schenker Projects in London, MAXXI – National Museum of 21st Century Art in Rome, Center for Contemporary Art Luigi Pecci in Prato (2021), Wschód gallery in Warsaw (2020), Palazzo Strozzi in Florence, Starak Family Foundation in Warsaw (2019), Deichtorhallen in Hamburg, Fondation Hippocrène in Paris (2018), Museum of Modern Art in Warsaw (2017 – laureate of the Hestia Artistic Journey Competition), and TRAFO Center for Contemporary Art in Szczecin (2016). Art fairs include NADA Villa Warsaw (2024), Artissima, and Arco Madrid (2021). Agnieszka Mastalerz was a resident of Hospitalfield in Scotland (2022), Muzeum Susch in Switzerland, the Artist Development Program at the EIB Institute in Luxembourg (2021), and Futura gallery in Prague (2020, Visegrad Fund). She participated in the Lucy Art Residency public program in Kavala (2022) and in the School of Expressions in PLATO Ostrava (2019). She is a laureate of M?oda Polska scholarship for 2024. Works of her are in Fondazione in Between Art Film by Beatrice Bulgari, Ergo Hestia Group, European Investment Bank, and Warsaw Ghetto Museum collections, as well as in private ones. Since 2021, Mastalerz is represented by eastcontemporary gallery in Milan.

“Machine Boys” is a short film which explores the informal economy of motorcycle taxis; colloquially known as “Okada”, in the mega city of Lagos. Banned due to the government’s inability to regulate it, “Machine Boys” portrays a hardy group of bikers who continue this work, seeking to attain financial autonomy and independence. “Machine Boys” dwells on the consequences of this ban, meanwhile portraying the daily rituals and challenges faced by Okada riders. The riders embody though their stylish attire, and self-assured, powerful behavior, a particular branch of masculinity, and in this performance a beautiful vulnerability emerges, questioning Nigeria’s patriarchal culture. Through this exploration of Nigerian patriarchal ideals, Ashadu relates its performance of masculinity to the vulnerability of a precarious class of workers. With its innovative, cutting-edge style and sartorial references, it engages in a dialogue around post-colonial informal economy structures in Nigeria, as well as opening a window into the socio-cultural nuances of its most populated city.

Karimah Ashadu (b. London 1985) is a British-born Nigerian Artist and Film Director living and working between Hamburg and Lagos. Ashadu’s work is concerned with labour, patriarchy and notions of independence pertaining to the socio-economic and socio-cultural context of Nigeria and its diaspora. Her work has exhibited and screened at institutions internationally, including the 60th Venice Biennale, where she was awarded the Silver Lion for a Promising Young Participant in the International Exhibition. She has shown at Kunsthalle Bremen, Tate Modern, London, Secession, Vienna, Kunstverein in Hamburg, South London Gallery, London, Museum of Modern Art, New York and Centre d’Art Contemporain Genève. Ashadu is the recipient of other awards such as the Prize of the Bötterstraße in Bremen (2022) and the ars viva prize (2020). Public collections include MoMA, the City of Geneva Contemporary Art Collection and the Federal Collection of Contemporary Art, Germany. She was named Abigail R. Cohen 2021 Fellow at the Columbia Institute for Ideas and Imagination, Paris. In 2020, Ashadu established her film production company Golddust by Ashadu, specialising in Artists’ films on black culture and African discourses.

Un fils revisite son vieux foyer, un endroit qu'il a connu autrefois, à la recherche d'un homard. Une exploration de la complexité de la masculinité et une lettre à mon père.

Née à Montréal, au Québec, Daniela Paglione est une artiste expérimentale et une étudiante de premier cycle en communication à l'Université Concordia. Elle a été captivée par la réalisation de films dès son plus jeune âge et a poursuivi cette passion dans le cadre de ses études. Ses films « The Earth was Formless and Void » et « Where Old Voices Go » ont été présentés dans le cadre du Vernissage 2023 du cinéma et des médias de Concordia (Montréal, Québec). Son nouveau film, Sinking Line, a récemment été projeté au Moving Images Alliance Collective, ainsi que dans le cadre de la 33e édition de Vidéo de Femmes dans le parc à Montréal. Elle travaille actuellement au Groupe Intervention Vidéo (GIV), un centre de distribution géré par des artistes qui se consacre à la promotion d'œuvres réalisées par des femmes. Daniela crée des courts métrages de manière indépendante depuis 2019. Son travail est expérimental et se concentre sur les thèmes du soi, de la mort et de l'inconscient.

The boy is familiar with his surroundings. His path is linear and without any detours. Slowly, doubts creep into his mind and he begins to question the status quo. Where does his path lead?

Jonas Erler is studying at the Academy of Fine Arts Leipzig (HGB) in the class of Heidi Specker. In 2022 he took part in the Connecting Talents program "Visegrád in Short(s)" of Filmfest Dresden under the mentorship of Csaba Bollók and in 2024 in the Oberhausen Seminar. He works closely with the Chemnitzer Filmwerkstatt. Currently he is working as assistant director for Luise Donschen.

SUNSTROKES is a method-driven and improvisation based film project produced and directed by Julian Rabus. Twenty-year-old Rachel moves from New York to Los Angeles in order to reinvent herself. Still attached to classical role models at first, she increasingly comes into conflict with them in her new environment and, in conversations with her new friends, begins to redefine her expectations of life and discover other sides to herself. This film was created in close collaboration between the director and the actors over a period of two years and a total of 32 days of shooting in Los Angeles and the surrounding area. The work consists of several chapters, of which this one focuses on the relationship between Rachel and Kevin.

Julian Rabus, born and raised in Berlin, Germany, was an assistant cameraman and assistant director in film and television before beginning a degree in fine arts / media art under Prof. Julian Rosefeldt at the Academy of Fine Arts Munich, which he received with honours in 2021. Since then he has been studying at the Berlin University of the Arts in Prof. Thomas Arslan’s class on narrative film. In between, he also attended the Karlsruhe University of Arts and Design under Prof. Serpil Turhan and the California Institute of Arts under Prof. James Benning.

On Hospitality is a necromantic documentary where the Iraqi artist Layla Al-Attar returns from the dead to tell the story of how a Swedish company built a luxurious hotel in Baghdad, ordered by Saddam Hussein for the 1983 summit of the Non-Alignment Movement. War changed all the plans. Layla made a mosaic at the entrance of the hotel, depicting George Bush’s face, and her house was hit by an American missile.

Magnus Bärtås is an artist, writer and filmmaker, and has exhibited at Gwangju Biennial, Göteborgs Konsthall and Moderna Museet, Stockhom among other venues. He won the grand prize at Oberhausen International Short Film Festival in 2010 with Madame & Little Boy. Behzad Khosravi Noori is an artist, writer and filmmaker working between Karachi and Stockholm. Bärtås and Khosravi-Noori won the 1st Prize of the Jury of the Ministry of Culture and Science of North Rhine-Westphalia at Oberhausen International Short Film Festival with On Hospitality – Layla al Attar and Hotel al Rasheed in 2024.

Like a glass vault that contains traces and gifts from distant countries, the headquarters of Energoprojekt, the former Yugoslavian construction company merges geographically distant places. Walls are pannelled with faded photographs of Energoprojekt’s conscturctions in fellow Non-Aligned countries, from 1960's until late 1980’s. Across Africa, South America, the Middle East and South Asia, the distinctive modernist constructions built by Energoprojekt formed an independent post-colonial architectural identity, beyond the Eastern and Western Bloc polarity. Abundant plants and trees, different species brought from afar 50 years ago, still grow together under the glass roof. The space is gradually revealed in choreographed sequences of the people who take care of the plants, forming an inseparable sense of belonging.

In his films, photography and video works, Ivan Markovi? observes space and the relationship between labour, architecture and ideology. With Linfeng Wu, he co-directed the short film “White Bird”, that had its premiere at Berlinale 2016. His experimental documentary “Centar” had its premiere at Doclisboa in 2018, won the “Best Newcomer” award at Dokufest. “From Tomorrow on, I Will”, a feature he co-directed with Linfeng Wu, had its premiere at Berlinale Forum 2019. The film received the Grand Prize at 2019 Jeonju IFF. It was shown in numerous festivals, including Belfort, Viennale, Zinebi and Mar del Plata. As a cinematographer collaborated on several feature films including “You Have the Night” by Ivan Salatic (Venice Film Festival), “Landscapes of Resistance” by Marta Popivoda (IFF Rotterdam) and “I Was at Home, But...” and “Music” by Angela Schanelec (Berlinale). His work was shown in numerous solo or group exhibitions internationally, in institutions including Institute of Contemporary Arts London, Bethanien in Berlin, Austrian Kulturforum Berlin, Museum of Contemporary arts Belgrade. Since 2020, a member of the European Film Academy.

Beacons is a cinematographic journey portraying eight women who distil the archive of cultural workers from countries of the Non-Aligned Movement into a musical score. They translate and decipher words into sounds and choreography and meet within a proposition for an address recasting the unrealised promises of the past into a sonic address a rehearsal for our present. Filmed on isolated architectures steeped in nature that once served the awakening of transnational solidarity, the project aims to re-inscribe the missing female voice into the history of world-building.

Cibic represented Slovenia at the 55th Venice Biennial with her project “For Our Economy and Culture”. She was the winner of the Film London Jarman Award (2021), the B3 Biennial of the Moving Image Award (2020) and has screened her films at the Whitechapel Gallery, London Film Festival, HKW Berlin, the Louvre, Dokfest Kassel and the Copenhagen International Documentary Festival among others. Cibic’s recent exhibitions include solo shows at the Museum of Contemporary Art Zagreb, The High Line New York, Museum der Moderne Salzburg, macLyon, Museum Sztuki Lódz, CCA Glasgow, Phi Foundation Montreal and BALTIC Centre for Contemporary Art Gateshead. Cibic’s work recently been presented at group exhibitions including IMMA Dublin, Biennale Jogja, Innsbruck Biennial, MAXXI Rome, Mac Belfast, MOMA New York, the Chicago Architectural Biennial and the Museum of Contemporary Art Belgrade.

In 1962, Oscar Niemeyer was invited to conceive an international fairground in the city of Tripoli, Lebanon, which was never completed. To Remain in the No Longer looks at how architecture operates in this failed state. By examining the precarity of the project site that remains to this day, the film reflects on the country’s current socio-economic crisis. Employing archival materials, interviews, and 16mm and digital film, the experimental documentary explores the political and cultural forces that have come to bear on the site—from its halted construction to its imposed abandonment and attempted reappropriations. How has architecture been instrumentalized in the ongoing construction of a national narrative? What is the role of architects in shaping society within corrupt ecologies of power and failed financial engineering? Film becomes a plastic medium to reframe the positivism of urban masterplans and architectural monuments and formulate a social critique. Modern structures under threat of collapse stand in as protagonists to tell the story of a promised metropolis that never came to be, while the fairground acts as a lens to look at implicit collapse beyond the perimeter of the site.

Based between Beirut and Amsterdam, artist and filmmaker Joyce Joumaa earned a BFA in Film Studies from Concordia University in Canada. In 2021-2022, Joumaa had her first institutional solo show at the CCA The Canadian Centre for Architecture. Her work has shown at the Montreal Museum of Fine Arts, Fofa Gallery, the Sharjah Architecture Triennial and in the 2024 60th Venice Biennale.

Hole is the Bubble i Blew is a hybrid-documentary combining video, generative animation and composite imagery. It is a choral history of shared intimacy where days and nights loop as an apartment window emerges from a burning tunnel; from this window a small group of people share stories of platonic and erotic love through space and time that separate like oil on the surface of water. "Movements pulse into the void, actions become sentient, consequences wait for the morning that will never be."

christopher tym (UK) is an artist-filmmaker based in The Netherlands that explores the (dis)locations between 'virtual+natural' environments. By combining film and animation he creates hybrid spaces where humxns bend time as they navigate their relationships with each other and their evolving world/s. His current projects focus on eco-centric moving image where new insights of form and time challenge our preconceptions of the Anthropocene. christopher teaches hybrid-animation and is a core tutor at the Gerrit Rietveld Academie, Amsterdam.

Lava is a love letter to things that cannot be written about: love, exciting piles of twigs, longing, a disappearing landscape, memories you can’t trust. Either writing hurts, or it is impossible to find the words. Lava is a continuation of the working group’s previous work Magma (2020). Both works deal with human relationships and ecology. The wishes for transformation, non-monogamy and boundless love, which were still partially smouldering under the surface, erupt in Lava, a video dealing with the end of a relationship.??

Jade Kallio is working with a variety of media including experimental cinema, performance and installation art. Their personal and collaborative works mix speculative fiction with everyday life. Kallio's works have been presented at festivals and institutions such as Europian Media Art Festival (2019, 2017), Beursschouwburg Art Center Brussels (2019), Kunsthalle Osnabrueck (2019), International Film Festival Rotterdam (2019, 2017), CCA derry (2016), HAM gallery (2017), Turku Art Museum (2017), Gallery Sinne (2017).

This second film from Young-jun Tak's on-going choreographic film series challenges the conventional binarity of gender presentations through queer male bodies and movements. It juxtaposes the hypermasculinity and hyperfemininity. The former is presented by Spanish Legion soldiers’ spectacular annual Maundy Thursday ritual carrying the life-sized crucifix in Malaga during the Holy Week that leads to the Easter Sunday. The latter can be found in Kenneth MacMillan’s ballet “Manon” (1974) where numerous male dancers worship the eponymous female protagonist in Act 2 Scene 1 by constantly lifting up and carrying her in the air. In spite of the two situations’ obvious difference, the glorification of two gender displays surprisingly reveals their similarity, for instance, in the lifted bodies’ open arms. In this regard, a new choreography, inspired by the specific scene of “Manon”, is commissioned to choreographer Jamal Callender—including himself as lead dancer—with five other gay male dancers, and a few preconditions were given to him: Manon should be male; his barefoot should never touch the dirt on the ground; and the choreography should be performed in Berlin’s popular gay cruising forest Grunewald. Throughout this film, the Spanish soldiers’ public ritual and the six male dancers’ choreography alternate while their bodies and movements, exposed to either crowded audience’s eyes on streets or hidden lustful gazes in bushes, try to fill the gap between the polarized gender presentations.

Young-jun Tak (born 1989, in Seoul, South Korea) is visual artist and filmmaker, and he lives and works in Berlin, Germany. Tak’s practice examines socio-cultural and psychological mechanisms that shape belief systems, ranging from simple objects of worship to sophisticated forms of religions. Blurring the lines between media, techniques, and subject matters, his films and sculptures pursue obfuscation as a tool of critique, and the human body is often exposed in the context of polarizing norms and conventions. Recent solo exhibitions include PHILIPPZOLLINGER (Zurich, 2024); COMA (Sydney, 2024); Atelier Hermès (Seoul, 2024); Julia Stoschek Foundation (Berlin, Dusseldorf, 2023); palace enterprise (Copenhagen, 2023); Wanås Konst (Knislinge 2023); O—Overgaden (Copenhagen, 2023); SOX (Berlin, 2022); and Efremidis (Berlin, 2022). He has participated in numerous international group exhibitions such as at St.Moritz Art Film Festival (2024); Bangkok Art Biennale (2024); the High Line (New York, 2023); Chicago Architecture Biennial (2023); Lyon Biennale (2022); Perrotin (Paris, 2022); KINDL Center for Contemporary Art (Berlin, 2022); Berlin Biennale (2020), Seoul Museum of Art (2019); and Istanbul Biennial (2017). Tak won the “Love at First Sight Prize” at the 3rd St.Moritz Art Film Festival and the “TOY Berlin Masters Award” at the 9th Berlin Masters. He studied English Language and Literature, as well as Cross-Cultural Studies at Sungkyunkwan University in Seoul.

"The Dawn Chorus" is an outbreak of birdsong at the start of a new day, depicted in the film as the inspiration for a dream-like gathering of the artists local queer community in Zagreb. This joyous celebration of queer bodies pays homage to the kingdom of birds through voguing, dancing, drag and costumes. It is a transposition that imagines the potential in the intersection between our own identities and the inclusive spaces that are open for other species. Filmed without the predictable popular electronic beats typically associated with ballroom, the film solely features the sounds of bodies in motion, the rhythmic impact of dancing, resounding percussive noises created by bodies, and chanting. These elements are accompanied by polyphonic sounds of birdsong onomatopoeias, sourced from ornithological manuals and sung by ”Le Zbor” a lesbian-antifascist choir from Zagreb accompanied by subtle gravity-like pedal tones played on Organ.

Damir Ocko (b. 1977, Zagreb) Graduate from the Academy of Fine Arts in Zagreb, O?ko has exhibited on solo exhibitions at Kunsthalle Krems, Museum of Contemporary Art Zagreb, Jeu de Paume, Paris, National Gallery in Prague, Museum of contemporary Art Bordeaux, Museo Amparo, Mexico, DAZIBAO, Montreal, Palais de Tokyo in Paris, Yvon Lambert Gallery in Paris, Künstlerhaus Halle für Kunst und Medien in Graz, Kunsthalle Dusseldorf, Temple Bar Gallery and Studios in Dublin, Kunstverein Leipzig among other places. He participated in numerous group exhibitions internationally with institutions such as, OFF Biennale Budapest, MUDAM in Luxembourg, FRAC le Plateau, Württembergischer Kunstverein Stuttgart, Kunsthalle Vienna, Louis Vuitton foundation among others. Damir O?ko represented Croatia in the 56th Venice Biennale with a solo exhibition "Studies on Shivering / The Third Degree. His works are included in many public and private collections such as FRAC le Plateau, Foundation Louis Vuitton, CNAP – Centre national des arts plastiques in Paris, MUDAM in Luxembourg and Museum of contemporary Art in Zagreb, among others.

The video performance Las Hermosas Invisibles proposes a post-mortem connection between Simon(e) Jaikiriuma Paetau and her/their recently deceased trans sister, Aérea Negrot. For many years, Aérea had been collaborating with Simon(e)’s artistic works with versatile sound creations. In Las Hermosas Invisibles, Simon(e) gathers and assembles all of these sounds present in previous collaborations, and responds to them in a new video-performance piece shot in the territory of the tum xula7xw of the sn??ay?ckstx people. The performance invokes Aérea’s spirit, memories, and the impact she had on Simon(e)’s life and work. Aérea’s artistic and emotional legacy continues to exist and communicate with Simon(e) through sound, music, and memory. The title ‘Las Hermosas Invisibles,’ directly references the term “hermosos invisibles” (beautiful invisibles) coined by Wayuu poet Vito Apüshana. This term represents the human and non-human entities that make up the living and thinking territory of the Wayuu people, with whom Simon(e) became acquainted through their collaboration with Wayuu artist Elizabeth Pirela. While the piece is dedicated to the memory of Aérea Negrot, it also encompasses a broader exploration of the legacy of other trans-ancestors spanning from Tibira do Maranhão to Sylvia Rivera.

Simon(e) Jaikiriuma Paetau is a German-Colombian interdisciplinary artist whose work spans video art, installations, experimental cinema, and performance, with a focus on decolonial themes and queer cultures. In recent years, Simon(e) has focused on inventing myths and utopias inspired by rural and urban cultures in Latin America, challenging hegemonic discourses. In this way, they have created interdisciplinary works and collaborations with racialized artists and historically marginalized communities, especially Emberá & Wayúu, non-binary sexual dissident bodies (including themselves), and rebellious LatinX trans women. Simon(e) studied Media Art at KHM Cologne and Film at EICTV Cuba. Their films and videos have premiered and won awards at prestigious festivals and exhibitions like documenta14, Cannes Directors Fortnight, New Directors/New Films MoMa & Lincoln Center, Berlin Biennale 11, BFI London, and the New York Film Festival. Notable awards and recognitions include the Emerging Talent Award at International Short Film Festival Oberhausen 2022, the Norman Award at Stuttgarter Filmwinter 2023, the Best Director Award at the Cartagena de Indias International Film Festival Colombia (FICCI) 2018, and a nomination for the Queer Palm at Cannes Directors’ Fortnight 2022. Simon(e) has presented their performances and video installations at renowned venues such as the Wexner Center of the Arts, HKW, Martin Gropius Bau, Kasseler Kunstverein, nGbK, Ballhaus Naunynstraße, Shedhalle Zurich, HAU, the Sharjah Art Foundation, and the Cinemateca de Bogotá. In 2023, Simon(e) held their first solo exhibition at the IBB Video Space of the Berlinische Galerie—Museum of Modern Art. The National Museum of Colombia recently acquired several of their works for its permanent collection. Since 2024, Simon(e) is co-founder and artistic director of the transnational German-Colombian experimental artistic laboratory, Atelier Lapaetau.

Renversant statues et symboles, construisant de nouveaux souvenirs, encadrant le paysage détruit, écrivant des lettres pour l'avenir, inversant les dynamiques de pouvoir : BIG BANG HENDA est un documentaire-poésie-manifeste sur le travail de l'artiste angolais Kiluanji Kia Henda. Il nous emmène dans un voyage à travers ses créations et réflexions, qui sont à l'avant-garde de la pensée anticoloniale, nous exhortant à réfléchir sur la manière dont les générations qui ont grandi pendant ou à la suite de la guerre réinterprètent cet événement.

Fernanda is a screenwriter and director, living between Brazil and Portugal. She has been working in the intersections between Brazil, Portugual and the African Portuguese speaking countries and former colonies of Portugal for decades. Her first feature as a writer, Mosquito, was the opening film at the Rotterdam FF (2020) and won the Critics Prize at the São Paulo International FF (2020) besides touring dozens of festivals. Her second feature, The Last Summer, is currently in production after being selected for the Script Station at Berlinale 2023 and RACCONTI. She has been developing, writing, and directing for TV, streaming and cinema, and some of her works have received awards and nominations at the Brazilian Cinema Academy, New York TV&Film Festival, Hollywood Woman’s FF, among others. She is part of the Torino Film Lab 2023. She is a co-founder of MUTIM, a woman in film association in Portugal.

Dans un avenir dystopique, les humains ont dû masquer le soleil pour rester en vie sur Terre. La sècheresse est extrême et la planète se transforme peu à peu en un brûlant désert où les survivants, installés dans les caves des grands observatoires, vivent dans une perpétuelle éclipse. Pour combler l’image d’un soleil qu’ils ne peuvent plus voir et dont ils n’ont pas de souvenir, ils chargent un logiciel d’Intelligence Artificielle de le reconstituer. À cette fin, l’IA choisit l’image mentale d’une jeune femme. En s’inspirant sur la structure en photo-roman avec voix off du film La Jetée (1962) de Chris Marker, Chroniques du soleil noir propose un récit de science-fiction où un algorithme est missionné pour recréer le passé grâce à une image d’enfance de la protagoniste, comme dans le film de Marker. En recyclant des photographies de l’album personnel de l’artiste, des images publicitaires et des clichés scientifiques de la collection de l’Observatoire de Meudon, retraités par une IA, le film porte sur notre rapport avec la technologie d’une manière inquiétante et ironique. La vidéo se compose comme une fable contemporaine qui nous donne à réfléchir sur la cohabitation de temps et la non-durabilité de notre manière d’habiter cette planète. Le film est réalise avec le soutien du Hangar Y, en partenariat avec l’Observatoire de Paris-PSL

Gwenola Wagon est artiste et chercheuse. Elle enseigne à l’École des Arts de la Sorbonne à l’Université Paris 1. À travers des installations, des films et des livres, elle imagine des récits alternatifs et paradoxaux pour penser le monde numérique contemporain. Elle arpente le globe virtuel avec ses premiers films Globodrome, enquête dans l’espace de l’hyperinformation et des infrastructures d’Internet en collaboration avec l’artiste Stéphane Degoutin avec qui elle co-réalise World Brain, le livre Psychanalyse de l’aéroport international. Après Bienvenue à Erewhon, Virusland et Chroniques du soleil noir fables post-cybernétique avec Pierre Cassou-Noguès, elle publie le livre Planète B un essai qui mêle enquête et fiction afin d’appréhender un monstre en pleine expansion.

Written upon testimonies, rumors and fake news, this film questions the architectures of energy shaping the Algerian territory from its colonial history to the rise of Chinese extractivism, underlining the multiplicity of reality in a post-truth era. Since 2006, thousands of Chinese workers have been arriving daily in Algeria to build new cities across the country. Refusal of taking care of the dead by construction companies led to rumors about the disappearance of worker’s bodies, therefore questioning the collective memory of these workers expunged from history. Memories of an Unborn Sun aims to articulate a metaphysical query around light as a form of memory, blending archives from French nuclear tests in the Sahara, viral footage of an artificial sun rising in the sky and verses from Tuareg poet Hawad. As this nightless world embodies the capitalist utopia of infinite growth, how to remember those made invisible? Exiled workers and ghosts of an energetical quest.

Marcel Mrejen (FR/DZ) born in 1994 (Paris, FR) is a visual artist and filmmaker exploring the articulation of technology within living and economic metabolisms. The form of his work spans various time-based media — installations, filmmaking, sound, and machine-learning. He graduated from the Gerrit Rietveld Academie in 2018, before being a resident of Le Fresnoy - Studio national des arts contemporains. His work has been exhibited in various cultural institutions, including the Stedelijk Museum, Laurel Project Space, De Brakke Grond, or the Institute of Contemporary Arts in London. Parallel to his artistic practice, he co-curated the first edition of REFRESH: Future-Proof. In collaboration with Eliott Déchamboux, his book: L’Europe c’est Deutshland quand tu rate laba tu est foutue mon frère, le reste c’est du fouma-fouma, was published by Jungle Books in 2019. His debut film Memories of an Unborn Sun was awarded the Jury Prize at Visions du Réel in 2024.

Dans une zone industrielle de la Mongolie intérieure, des mineurs extraient une ressource stratégique cruciale pour notre mode de vie, et ce, dans des conditions humaines et environnementales difficiles. C'est ici que proviennent 80 % des minéraux des terres rares, essentiels à la fabrication des technologies numériques. Un mineur travaillant sur le site partage ses réflexions sur sa vie et ses conditions de travail. White Cloud est un film développé avec une IA générative qui offre une perspective unique sur le district minier de Bayan Obo.

Emmanuel Van der Auwera (b. 1982, BE) works multidisciplinary with video, theater, sculpture, printmaking and often in tension between art and technology, reality vs. simulation and the trivialization of violence. Finding his material in the rampant image production of a global screen culture, he is interested in the meaning of images and how they depict reality while at the same time constructing it. Van der Auwera is the winner of the Goldwasserschenking awarded by WIELS and the Belgian Royal Museums of Fine Arts. His work has been featured in exhibitions at the Pinakothek der Moderne, Munich; WIELS, Brussels; Centre Georges Pompidou, Paris; Palais de Tokyo, Paris; Centro per l’Arte Contemporanea Luigi Pecci, Prato and the HeK - House of Electronic Arts, Basel; amongst others. In 2023, Van der Auwera's work was presented in exhibitions at the Biennale internationale des arts numériques de la Région île-de-France (Paris, FR), Z33, House for Contemporary Art, Design & Architecture (Hasselt, BE). In 2024, his work was shown in the Biennale de l’Image en Mouvement 2024 - BIM 24 (Geneva, CH), KW Institute for Contemporary Art (Berlin, DE), 8th Yokohama Triennale (Yokohama, JP), Kunsthal Charlottenborg (Copenhagen, DK), Kunstverein Hamburg (Hamburg, DE), Deichtorhallen Hamburg (Hamburg, DE), and Royal Academy of Fine Arts (Antwerp, BE).

A veiled metaphor for the instabilities of our times shot with a low-res Flip Camera

Peter Rose’s works in film, video, installation, and performance have received extensive national and international exhibition, including shows at the Whitney Museum, the Museum of Modern Art, the Centre Pompidou, the Yokohama Museum of Art, and more recently at the Fabric Workshop and Museum, the Rotterdam International Film Festival and the Film Society of Lincoln Center. Rose is concerned with new forms of vision, improvisations in fictitious languages, and the pleasures of obscure journeys. The work is included in several major international collections.

Newly built high-rise buildings in multiple areas of accelerated regeneration across London are abstracted in a series of free-falling motions. Through this abstraction comes an attempted reclamation of London’s skyline.

Syd Farrington is an artist and filmmaker living and working in London. His work has been shown internationally at International Film Festival Rotterdam, London Short Film Festival and Kasseler Dokfest, among others. Working with film, his work explores the physical effect of contemporary capitalism on the changing landscape of London. Often using place and landscape as a starting point, He navigates the interrelation of personal and shared experience, drawing from the vast history of cinema and modes of structural filmmaking.

Container ships, infrastructures of the digital economy, mines and cityscapes of contemporary California are brought into an associative montage that expands via the soundtrack of improvisational musician Zsolt Sorés. In a film without dialogue, landscape images and music produce a raw and psychedelic anti-effect in which musical delays reflect on the surfaces of the images and support the montage: Individuals are networked, but Silicon Valley's digital enterprises are inaccessible, public space closed off by smart fences.

The artist and filmmaker Clemens von Wedemeyer, currently lives and works in Berlin and holds a professorship for media art at the Academy of Fine Arts Leipzig. Mass (1999), Otjesd(2004), From the Opposite Side(2007), Muster / Rushes (2012), The Horses of a Cavalry Captain (2015), Esiod 2015 (2016), Transformation Scenario (2018)