Programme Paris 2026

Sur les rives d'une île imaginaire, Cassius se remémore son premier amour, Sami, ex-champion de tektonik.

Emilien Mathey est un réalisateur, producteur et compositeur français. Entre 2023 et 2025, il réalise Cycle Pop, une trilogie de courts-métrages de fiction inspirée librement de vies de célébrités et de l'industrie musicale, pour laquelle il compose également la musique originale. Après une licence de cinéma à Paris 8, il produit plusieurs courts-métrages avec son collectif Caprices Films, dont Moro de Loretta Gueillet ou Nos Corps expulsent du seum en brique de Anna Escaffre. Traitant des thèmes de l'intime, de la mémoire et de la pop culture, Emilien a toujours mêlé l'expérimental à la fiction, faisant dialoguer les époques, les médiums, mais aussi le réel et l'imaginaire. En 2026, il écrit, réalise et compose la musique de La Pointe de mon île, une fiction expérimentale confrontant prises de vues réelles, incrustations 3D et images d'archives.

The  film portrays a group of young adults in Los Angeles. By integrating documentary techniques with fictional interventions, the film explores the social interactions of its characters as they navigate their relationships and identities

Julian Rabus is a filmmaker and artist based in Berlin. He began his career as an assistant director and cameraman, before receiving his MFA with honors from Academy of Fine Arts Munich in 2022. He studied with James Benning at California Institute of the Arts, with Julian Rosefeldt (Academy of Fine Arts Munich) and Thomas Arslan (Berlin University of the Arts).

A queer auto-narrative about longing in three acts that addresses seemingly chaotic but systemically functioning cycles of attraction and revulsion, fear and desire, consumption and withdrawal, ecstasy and regret. While the film creates a timeless immediacy, the first-person narrator's commentary, in contrast, sounds like overthinking rather than an unquestioned moment of just-being-there. Whether at the club, by the lake or in the student cafeteria – one’s own judgement is always quicker than the question of how one is actually doing at that moment. But gradually something begins to change: An initially barely perceptible frequency shift sets in. The fragmented staccato of the first comments gradually gives way to a tale that gently settles in the interstices between dune, dream and reality.

Leonard Volkmer was born in Hannoversch Münden in 1996. In 2024, he completed his master's degree in Visual Communication and is now part of the Graduate School for Moving Image at the Kunsthochschule Kassel. Three of his short films premiered at DOK Leipzig, where he was the winner of the Golden Dove Short Film (German Competition Documentary Film) with "The King of Spain" in 2024. His work has also been shown at Courtisane Festival, Filmfest Dresden and Kassel Documentary Film and Video Festival.

Ansoir, jeune boxeur comorien, rêve d'ailleurs. Partir de l’île semble impossible, la mer l’invite, le défie et son corps devient alors son seul passeport. Depuis des décennies, Grande-Comore reste absente du territoire cinématographique, attendant d’être racontée.

Salomé Moindjie-Gallet (2001) est une artiste franco-comorienne dont le travail explore le cinéma, le montage et la création sonore. Formée aux Beaux-Arts de Caen dès l'âge de 17 ans, sous la direction d'Isabelle Prim, elle poursuit ses études aux Beaux-Arts de Paris auprès de Clément Cogitore. Ses films, principalement tournés sur l'île de Grande Comore, se déploient à la frontière entre fiction et documentaire, dans un espace où les récits improvisés rencontrent l'écriture réinventée, où les gestes quotidiens basculent vers le mythe. Comédienne autant que cinéaste, elle tient le rôle principal dans "Je serai bientôt tout à fait mort enfin", présenté au Centre Pompidou, et joue dans "Les Loups"(Ecce Film). Elle travaille également comme monteuse image sur "La Piscine intérieure" de Dominique Gonzalez-Foerster et Julien Perez, et comme assistante d'Ange Leccia et Éric Baudelaire. Son travail est présenté collectivement au Palais de Tokyo dès 2024. Elle est également invitée par la FINCA et le festival international Si Cinéma, et ses films sont montrés à l'Institut français de Dakar, au BAL dans le cadre des Nuits Blanches, ainsi que dans des festivals tels que les États généraux du film documentaire de Lussas, Interfilm Berlin, le FIFOI, le Festival Silhouette. Entre mémoire et perception, ses films se reçoivent moins comme des récits que comme des traversées sensibles. L'attention flottante s'érige en forme de résistance décoloniale, déplaçant le regard hors des lignes imposées, vers les marges, les interstices et les zones d'ombre où d'autres histoires peuvent enfin respirer.

Dooni is the eulogy of the American soul-singer Sylvester (1947-1988) as told by the gospel singer and preacher Walter Hawkins. With the voice of NY actor/director Timothy Johnson.

Biographies of Co-Directors Claudrena N. Harold and Kevin Jerome Everson CLAUDRENA N. HAROLD (born Jacksonville, Florida, lives and works in Charlottesville, Virginia) is the Associate Dean for Social Sciences and Edward Stettinius Professor of History at the University of Virginia. She specializes in African American history, Black cultural politics, and labor history. The collaboration with UVA colleague Kevin Jerome Everson on two short films, Sugarcoated Arsenic (2013) and Foosball: U. of Virginia Charlottesville, 1976 (2013) as part of the multimedia project Black Fire, supported by an Arts in Action grant were her debut film credits as co-director, writer and producer. Subsequent films reflecting Harold’s ongoing research into the history of Black student activism at UVA include We Demand (2016), Fastest Man in the State (2017), How Can I Ever Be Late (2017) Black Bus Stop (2019), Pride (2021) and Accidental Athlete (2023). These films, 14 to date, have screened at numerous international film festivals and art institutions, including Chicago International Film Festival, Black Star, Berlinale, New York Film Festival, IFFR, EMAF, IKFF Hamburg, Cinema du Reel, Doc Lisboa, BFI/London, Edinburgh, Porto Post Doc, Indie Memphis, AFI Fest, Crossroads Festival, Fronteira Festival Brazil, and have been featured at the Whitney Biennial, Harvard Film Archive, the National Gallery of Art, Washington D.C., Austrian Film Museum, mumok, Vienna, and the Museum of Modern and Contemporary Art, Seoul, South Korea. Claudrena is the author of The Rise and Fall of the Garvey Movement in the Urban South, 1918-1942 (2007), which chronicles the history of Marcus Garvey’s Universal Negro Improvement Association from the perspective of black women and men living below the Mason-Dixon Line; New Negro Politics in the Jim Crow South (2013) which details how the development of New Negro politics and thought was shaped by people, ideas, organizations, and movements rooted in the South, bringing into full view the ways southern blacks not only validated the idea of the New Negro as a national phenomenon but also significantly informed and reshaped the contours of black nationality and class formation; and When Sunday Comes: Gospel Music in the Soul and Hip-Hop Eras (2020), an exploration into gospel music's essential place as an outlet for African Americans to express their spiritual and cultural selves. She is the co-editor, with Louis Nelson of Charlottesville 2017: The Legacy of Race and Inequity (2018). KEVIN JEROME EVERSON (b. Mansfield, Ohio, lives and works in Charlottesville, Virginia. He is the Commonwealth and Ruffin Foundation Distinguished Professor of Studio Art and Director of Studio Arts at the University of Virginia. Recipient of the Guggenheim, Heinz Award in Art and Humanities, Berlin Prize, Alpert Award for Film/Video, Rome Prize, Everson's art practice encompasses photography, printmaking, sculpture and film, 13 award-winning features and over 300 solo and collaborative short form works, including 14 films co-directed with UVA colleague Claudrena N. Harold that screen regularly at international film festivals, cinemas, galleries, museums and art biennials. He is currently in post production on his first fiction feature, Lowndes County, set in 1959 rural Mississippi, five years after Brown vs. Board of Education and five years before the Civil Rights Act. Everson's work has been the subject of retrospectives and solo exhibitions at The Whitney Museum of American Art, Tate Modern/Film, London, Highline, NYC, Cinema du Reel/Centre Pompidou, Paris, Art Windsor- Essex, Windsor, Canada (in association with Media City Film Festival), Andrew Kreps Gallery, NYC, Halle fur Kunst Steiermark, Graz, Austria, Museum of Modern and Contemporary Art, Seoul, Glasgow Shorts, Cinematek Brussels, Cork International Film Festival, Visions du Reel, Nyon, and the Harvard Film Archive . His films have been featured at the Whitney Biennial (2008, 2012, 2017), the 2013 Sharjah Biennial, the 2018 Carnegie International, the 2023 Contour Biennale, Mechelen, Belgium and the “Cinema for All’ section of the 2023 Thailand Biennale. In 2027, Everson will have solo exhibitions at Silent Green, Berlin; Kunstverein Braunschweig and the Wexner Center, Columbus, Ohio. Everson’s award-winning films regularly screen at international film festivals including Black Star, Sundance, IFFR, Berlinale, Cinema du Reel, EMAF, Courtisane, Locarno, BlackStar, Venice, Toronto, New York Film Festival, BFI/London, Doc Lisboa, True/False, Crossroads, Media City, AFI Fest, Chicago International Film Festival, BAFICI ,Jeonju, DMZ Docs, cinemas, galleries, museums and public and private art institutions, including  Whitechapel, London, Wexner Center for the Arts, Columbus, OH, Museum of Modern Art, NY, Reina Sofia, Madrid, LUMA Foundation, Switzerland, National Museum of African American History, Washington, D.C., MOCA, L.A., Walker Art Center, Minneapolis and REDCAT, Los Angeles.  A3 DVD Boxed Set, Broad Daylight and Other Times, was released by Video Data Bank (U.S.) in 2011 and a DVD dedicated to films focusing on the rituals and gestures of labor, I Really Hear That: Quality Control and Other Works was released by VDB in 2017. The two disc blu-ray How You Live Your Story: Selected Works of Kevin Jerome Everson, was released by the UK based boutique label Second Run DVD in Fall 2020 and Second Run's special blu-ray edition release of Everson's eight hour factory film, Park Lanes was released in February 2025, featuring a booklet with essay/interview contributions from Michael B. Gillespie, Matthew Barrington and Elena Gorfinkel. Everson has received fellowships from the Guggenheim, NEA, NEH, Ohio Arts Council, and the Virginia Museum, grants and commissions from Just Films/Ford Foundation, Knight Arts Foundation, the Wexner Center for the Arts, Creative Capital and the Sundance Institute, residencies at Mobile Frames/Media City (Windsor/Detroit), Hallwalls Contemporary Arts Center, Yaddo and MacDowell Colony, and numerous university fellowships.

In the stillness of his yard, Booker watches the sky fill and empty with passing planes. As the world moves around him, he lingers, circling a memory whose edges blur with time.

Dwayne LeBlanc is a Los Angeles–based, first-generation Caribbean American, self-taught filmmaker whose work explores migration, visibility, and dual identities. His debut narrative short film, CIVIC, was named one of The New Yorker’s Best Movies of 2023. The film won the jury and audience awards at Indie Memphis and received special recognition at the New Orleans Film Festival. His sophomore film, NOW, HEAR ME GOOD, premiered in the Tiger Shorts Competition at the International Film Festival Rotterdam (IFFR) and won the jury award at the San Diego Underground Film Festival. Both films are distributed on the Criterion Channel. LeBlanc’s most recent work, YOU DO NOT EXIST, premiered at IFFR in 2026. Across these three films, LeBlanc traces the evolving inner life of Booker, a recurring figure moving through questions of place, solitude, memory, and belonging. His work has been presented at institutions including MoMA, BAMPFA, the Wende Museum, Harvard, Stanford, and CalArts. LeBlanc is one of Filmmaker Magazine’s 25 New Faces of Independent Film, a 2023 L.A. Performance Practice fellow, a 2024 Dolby Institute Fellow, a Berlinale Talents alum, a Zurich Film Festival Academy alum, and a 2025 MacDowell fellow. He is currently developing his debut feature film.

An interspecies fairy tale – We see a collection of speculative humanoids, insects, amphibians, and sea creatures collaboratively engage in ecological fictions, surgical workshops, and improvisational communication stories in the hopes of re-wilding the planet one interaction at a time.

Torsten Zenas Burns is a video / visual artist living in Finland. Burns received a BFA in video from the New York State College of Art & Design at Alfred University, and an MFA in New Genres: video & performance art from the San Francisco Art Institute. Burns creates video, photographs, sculptural installations, and electronic publishing projects exploring re-imagined educational practices, speculative fictions, experimental space programs, post-human improvisations, zombie / afterlife relationships, humanimal stories, Scandinavian folklore, and ecological world building. Other long-term projects include collaborations with Monika Czyzyk, Darrin Martin, Hanne K. Burns, and Anthony Discenza (Halflifers). Burns' selected video & net-art works are collected and distributed by Vtape, Rhizome Artbase, Video Data Bank, and Electronic Arts Intermix. Burns has participated in several residency programs including Ucross Foundation, Headlands Center for the Arts, The Experimental Television Center, Bemis Center for Contemporary Arts, L.M.C.C. World Views Studio Program, Smackmellon Studio Program, Eyebeam, Harvestworks, The Outpost, Signal Culture, and f.eks. (AIR). Burns has screened at the Museum of Modern Art's Video Viewpoints and Premieres series, The Whitney Museum of American art, The Pacific Film Archive, SF Camera Works, Dumbo Arts Center, Video_Dumbo, Aurora Picture Show, Migrating Forms, Krowswork Gallery, The Chicago Underground Film Festival, The European Media Arts Festival, Impakt festival, The Melbourne International Film festival, Yanhuang Art Museum, The Oberhausen Short Film Festival, Parsons Hall Project Space, The Busan International Video festival, MUU Gallery, Fosdick-Nelson Gallery, The Tack Room Project Space, The Stuttgarter Filmwinter: Festival for Expanded Media, and Maltinranta Art Center Gallery. In 2022 Burns was awarded a visual arts grant from Taike / Arts Promotion Centre Finland for the year 2023. Burns currently is a board member for Vartiosaari Artists ry co-running the artist house studios and residency program on Vartiosaari / Helsinki, Finland.

Melting Ice/ Mirror room A slow, tentative return to light. Curved surfaces, the camera glides along, reflecting a life that has passed, a place of memory. Melting ice. Now it serves as a means of self-affirmation. What remains, what is lost, what life is reflected there? In a world of reflections, in structures, colors, curved spaces, fallen out of time, every dream loses its substance. Before everything dissolves, trees emerge into the light of day. The brain continues to crave an external world to which it can relate. Who is the one I am?

Michael Busch, Born 1965, filmmaker, composer video artist, various film works since 1988

In Expedition Content, images of an octopus’s optic nerves, filmed through a high-tech microscope at the Stazione Zoologica Anton Dohrn in Naples, become the starting point for an exploration of the limits of seeing and knowing. Founded in 1872, the institute is one of the historic centres of marine biological research. By bringing the film camera into the realm of biological science, the work examines how technological instruments mediate our access to the natural world. The microscope promises an intimate view of an otherwise inaccessible reality, yet what becomes visible remains elusive. The images bring us closer to the animal’s sensory apparatus without necessarily bringing us closer to its experience of the world. The work also turns towards the material conditions of image-making itself. Through experiments with animal gelatin applied directly onto the film, the biological and the photographic are brought into contact. The film becomes more than a vehicle for recording images: its own material participates in the investigation. Expedition Content unfolds in the tension between observation and opacity, scientific inquiry and visual uncertainty. It asks what it means to make something visible—and what remains beyond the reach of the image, even when we look as closely as technology allows.

Lina Selander is an artist with a focus on narrativity and installation at Konstfack. Her films and installations often stem from historical turning points, exploring relationships between memory and perception, photography and film, or language and image. Selander's work recurrently returns to a fascination with the phenomena and technologies that have made images possible, enabling history to be documented.

In an ancient Phrygian site, a singing skin deforms itself into a flute through calculated perforation, while a band of melancholic mutants practice amputations through controlled noise exposure. At what degree of curvature does the ego begin to resemble a prismatic worm? Working around ideas on computational reason, metamorphosis, ancient origins of cybernetics, and synthetic matter, Viscosity Symposium [deep hot noosphere] presents a neurohistorical fiction stationed between machines, skins and embedded thought.

Mochu works with video and text, arranged as installations, lectures and publications. Technoscientific fictions and subcultural formations feature prominently in his practice, often modulated with anxiety, futurity and weird selfhoods. Recent projects have explored ideas around neurohistory, deep time, the ruins of cyberpunk, and the conjunction of natural philosophy and political thought.

"Situation Room" est un essai vidéo spéculatif qui explore la salle de crise comme espace de mise en scène du pouvoir. À travers une reconstitution 3D de la salle de crise de la Maison-Blanche, vidée de ses occupants, le film fait émerger un environnement fantomatique, suspendu entre réalité politique et mythologie médiatique. La salle apparaît alors comme une image hantée du contrôle, où l’état d’urgence devient moins un événement qu’une condition permanente.

Elouan Le Bars (né en 1998) est un artiste basé à Paris. À travers la vidéo, l’installation et le game design, il examine les structures idéologiques à l’œuvre dans les cultures compétitives et les formes contemporaines du travail. Ingénieur de formation (Université de Technologie de Compiègne), il est diplômé de l’École nationale supérieure d’arts de Paris-Cergy en 2024. Ses projets transposent les logiques du jeu, de la crise et du management dans des espaces où elles cessent de fonctionner comme prévu — jusqu'à ce que leurs présupposés deviennent visibles. Un mouvement de déplacement traverse l'ensemble de sa pratique : entre le digital et le matériel, entre documentaire et fiction, entre jouer et être joué.  Son travail a fait l’objet d’expositions personnelles au centre d’art Ygrec-ENSAPC (2026) et au Frac Île-de-France – Le Plateau (2025). Il a également été montré au Musée des arts et métiers, à la Kvalitar Gallery (Prague), au festival Cinéma du Réel et au festival Actoral, entre autres. Il a été accueilli en résidence à la Villa Dufraine de l’Académie des beaux-arts (2025), puis au sein de la résidence croisée EXTRA, consacrée au jeu vidéo expérimental, entre Octobre Numérique et games.brussels (2026).

KONTROLLE (short text) The cycle of works entitled Kontrolle examines the tension between animals as instruments of state power, the institution of state authority, and the citizens who are confronted by it. In the highly stylized photographs of training sessions with horses and dogs in police service, the animals take center stage: calm, aggressive, or playful, but always obediently following commands. The aesthetic exaggeration of the images evokes the iconography of domination in earlier eras and at the same time raises questions about the forms and mechanisms in which state power is still staged today.

STEFAN NEUBERGER is a cinematographer and filmmaker. He studied documentary film directing at the Film Academy Baden-Württemberg. His short film KEDI, which he also directed, premiered at the Oberhausen Short Film Festival. MEANWHILE IN MAMELODI (director: Benjamin Kahlmeyer) won the HBO Documentary MORITZ STUMMN is a German artist and label operator. Power and violence as well as their iconographies and rituals are often subjects of his oeuvre. His artistic activities range from video works, installations, objects, ink drawings to audio-visual performances. In his work he combines found footage, staged material and digital animation and interweaves them into narratives with a striking aesthetic. Together with Cyrill Lachauer and Nils Petersen he co-operates the label „Flippig the Coin Records“ publishing musical-auditory work of visual artists. He also works as a musician and music video director.

A slow loss of grip on reality: the search for «objectivity» at the fringes of a society consumed by technology. ? The film is a fictional portrait of three isolated people who are drifting somewhere between delusion and revelation. The trio becomes both architects and victims of a world coming apart, revealing a story not so much about coming revolution than about fragile minds clinging to reality’s ruins. Set within a context of rural decline and social fragmentation, the film approaches these figures not as anomalies, but as symptoms of prolonged disconnection. It examines how belief systems form and harden beyond any single ideological framework, as image culture, conspiracy, and personal mythology begin to replace shared reality. Formally, the work combines original 16 mm, Super 8, analog video and digital material, alongside a single AI-generated image* transferred onto b/w 16 mm. The film moves between near-documentary texture and constructed narrative, allowing the material qualities of each format to reflect the instability of the worlds these characters inhabit. *The generative AI model was allowed to freely interpret the source frame, misreading its contents and hallucinating a continuation that we see in the film. No direct human intention was involved.

Matti HARJU studied MA in Directing Fiction at the NFTS (UK) and received an MFA from the Finnish Academy of Fine Arts. His film school shorts and self-produced films have been presented at international festivals including Locarno, Rotterdam, Oberhausen, Clermont-Ferrand, BFI London, AFI Fest Los Angeles, Doclisboa, New Horizons Wroc?aw, Edinburgh, 25FPS, Videoex and Torino. Solo shows include Gallery Sinne and Turku Art Museum (in 2027). Nox, his second feature film, produced by Elokuvayhtiö Testifilmi Oy, had its world premiere in the Harbour section of the International Film Festival Rotterdam (IFFR). Harju primarily works with 16 mm and Super 8 film, alongside digital and analog video. His films examine contemporary forms of belief, image culture and ideological construction through a deliberately unstable cinematic language.

A short essay on document, myth and reality.

Mikhail Zheleznikov is a filmmaker and curator of film programs. Was born in Leningrad in 1972. Made films for ARTE and YLE, and St. Petersburg Documentary Film Studio. Has participated in numerous international film festivals and has received film awards, including Principal Prize of the International Jury at ISFF Oberhausen.

Les confessions d’un chef d’État au bord de la chute. À travers le paysage mental d’un pouvoir en décomposition, le monologue intérieur du président Marbror devient la chronique d’un régime autoritaire à l’agonie. Librement adapté de Macbeth de W. Shakespeare.

Anton Bialas est né en 1990 à Paris, d’une mère suédoise et d’un père allemand. Il étudie le cinéma à la Sorbonne Paris III. Son premier film, DERRIÈRE NOS YEUX (2018), a été sélectionné au FID Marseille où il remporte plusieurs prix, avant d’être projeté dans de nombreux festivals internationaux.  En 2020, son film À L’ENTRÉE DE LA NUIT fait sa première en compétition officielle à la Berlinale. Puis GROUPE MERLE NOIR (2021) est sélectionné en compétition officielle au festival Visions du réel en Suisse, ainsi qu’aux rencontres du moyen-métrage de Brive. RAIE MANTA (2022) est sélectionné à la Semaine de la critique à Cannes ainsi et dans plus de trente festivals internationaux. MONUMENTS AUX VIVANTS (2022) film dédié à l’oeuvre de l’artiste Daniel Pommereulle est projeté à la Bourse de Commerce Fondation Pinault suivi d’une présentation in-situ des oeuvres de l’artiste. ELDORADO (2025) fait sa première au festival de Locarno. Son dernier film HISTOIRE DES TÉNÈBRES (80’, 2025), prolonge sa quête d’un cinéma sensoriel et baroque, mêlant transgression, histoire et marges. Il sera présenté à la Bourse de Commerce - Fondation Pinault début 2026 dans le cadre de l’exposition « Clair-Obscur ». Il développe actuellement deux nouveaux projets de long-métrage ; FEMMINIELLI (The Last Piña Colada on Earth), autour d’un chanteur-performeur flamboyant rongé par la nuit et par la pression qui plane sur son night-club menacé de disparition dans un Paris contemporain ultra-normalisé et AGONY IN THE PALACE, centré autour des derniers jours d’une dictature fictive. Parallèlement à son travail cinématographique, Anton Bialas publie (en collaboration avec Kamilya Kuspanova) deux livres de photographies intitulés Début de siècle paru aux éditions Possession Immédiate en 2019 puis Trans Ili-Alatau aux éditions Laia Selects en 2023.  

In a mountain village in western Rajasthan, a woman lives between silence and recurring dreams. A white crocodile with wounded wings drifts through her inner world. At times, thick honey emerges from her navel, and the presence of someone she once knew seems to return. As these moments gather, the borders between her body, memory, and the surrounding landscape begin to blur.

Aryan Malviya is a self-taught filmmaker based in Jodhpur, Rajasthan, India. His filmmaking philosophy is rooted in capturing reality with minimal intervention, allowing moments to unfold organically in front of the camera. Aryan has a deep interest in Rajasthan’s villages, folklore, and rural mythologies. His storytelling draws from these rich cultural traditions, blending realism with the mystical to capture the oral histories and forgotten tales of his land.

Dans la brune, des silhouettes avancent à l’aveugle et se métamorphosent en êtres végétaux.

Marie Reinert est née en France en 1971, elle vit et travaille à Valmondois (France). Elle développe une pratique de l’art placée aux frontières de la vidéo, de l’installation, du dessin, et de la performance et du son. Son travail se déploie dans des résidences, les plus souvent menées à l’intérieur du monde du travail. Générant des collaborations avec les personnes sur place ou invitant des intervenants à agir/intervenir, elle a collaboré avec des danseurs, des architectes, musiciens, des ergonomes etc... Le corps s’impose comme l’axe de sa recherche: procédant par stratégies d’infiltration, d’observation, d’archivage pour examiner les systèmes, les codes et les protocoles qui conditionnent les mouvements des corps dans leur environnement spatial et social. Marie Reinert a participé à de nombreuses expositions en France et à l’étranger : The See is glowing, Rijeka 2020, Croatie, Biennale de Lyon, 2019, France, Nanjing festival, China (2016/ 2017), Défense Yokohama, Frac Paca, Marseille 2014/2015, Aichi triennale, Nagoya, Japon (2013), Dutch National Bank, Amsterdam (2013) ; Festival Hors Pistes, Centre Pompidou, Paris (2013) ; Centre de la Imatge, Barcelone (2012) ; Musée de l'Arsenal, Kiev (2011) ; Stedelijk Museum, Amsterdam (2011) ; Bunker, Berlin (2011) ; Printemps de Septembre, Musée des Abattoirs, Toulouse (2010) ; MAC/VAL, Vitry-sur- Seine (2009) ; Le Plateau, Frac Île-de-France (2007). En 2021, son film Article 15 reçoit la Mention Spéciale du Prix du Cnap au FIDMarseille.

Trees – climate refugees, activists and wanderer through time and space Since 2016, Agnes Meyer-Brandis and her “Office for Tree Migration (OTM)” has been studying the migration of trees and plants in different climate zones and along tree lines: How they go North, how they climb uphill in the Californian white mountains or how they enter the wetlands, which are drying out due to global warming. In this short video, we see OTM Agent Sloan at work – which essentially consists of observing imperceptibly slow changes using various real-time analysis programmes – at the OTM centre in Hyytiälä, Finland. Observing migrating trees can be tedious and boring, so Agent Sloan has started singing. The time-lapse images come from the longterm camera system installed by OTM in the Siikaneva bog, which has been recording there since 2021. The monochrome images correspond to the average vegetation colour of each synchronous camera image. The colours provide valuable ecological data for scientific analysis. The Office for Tree Migration (OTM) is a long-term interdisciplinary art and research project by Agnes Meyer-Brandis.

Agnes Meyer-Brandis is a Berlin-based artist working at the fringes of art, science and technology. She creates films, installations, instruments and performative formats that explore the boundaries between fact and fiction, knowledge and imagination. With a background in mineralogy, sculpture and new media, she develops long-term artistic research projects combining experimental technologies with imaginative storytelling. In 2003, she founded FFUR – Research Raft for Subterranean Reefology, an evolving artistic institute exploring unknown and overlooked realities. Working across fields such as climate research, environmental studies, meteorology and synthetic and artistic biology, FFUR deliberately asks questions rather than providing answers. Meyer-Brandis has been honoured with several awards, including the European Kairos Prize, and two Prix Ars Electronica Awards of Distinction. In 2026, her Office for Tree Migration was awarded the S+T+ARTS Grand Prize of the European Union. Her works, including the film Moon Goose Colony, have been shown at internationally renowned museums, art institutions and major festivals, including the Centre Pompidou in Paris (FR), the Hamburger Bahnhof – National Gallery of Contemporary Art Berlin (DE), the Serlachius Museums Mänttä (FI), HeK - House of electronic Arts Basel (CH), apexart New York (US)., Daejeon Museum of Art, South Korea, ZKM Karlsruhe (DE).

At the foothills of the San Gabriel Mountains the everyday trades volleys with the cosmos. certainties is a lousy custodian’s record of life on a warming planet. In certainties, footage from three years spent on the border of the Angeles National Forest turns into an extended apology to the natural world. The film sits uneasily between feelings of culpability and insignificance, testing and abandoning theories of cause and effect, and reflecting on the uniquely destructive radiance of the human presence.

Calum Walter is an artist working in sound and moving image. His recent work has focused on human and machine error, collective anxieties, and the cultural moment as it is shaped by emerging and consumer technologies. His films have screened at the Berlinale, Sundance, Toronto International Film Festival, New York Film Festival, Rotterdam International Film Festival, Ann Arbor Film Festival, Rencontres Internationales Paris/Berlin, FIC Valdivia, Images Festival, Slamdance and the Hong Kong Arts Centre. He is a 2018 MacDowell Fellow and has received awards from the Harpo Foundation and the Illinois Arts Council. He lives in the Los Angeles area and teaches in the Film/Video program at CalArts.

This film traces Arizona’s desert as it is reshaped into a hub for data centres and semiconductor manufacturing. Moving through altered waterways, the film exposes tensions between technoutopian visions and drought-stricken ecologies. Guided by offscreen voices and Tohono O’odham poet Ofelia Zepeda’s ‘Cloud Song’, ancestral knowledge counters the rise of industrial ‘cloud’ infrastructures.

Su Yu Hsin is an artist and filmmaker who lives between Berlin and Taipei. She approaches ecology from the point of view of its close relationship with technology. Combining fieldwork with interdisciplinary collaboration, she develops analytical and hydropoetic narratives that examine water as both a carrier of environmental history and contested medium within technological regimes. Her video installations are exhibited worldwide in museums and International Art Biennials: Bundeskunsthalle Bonn, the Centre Pompidou-Metz, the Museum of Contemporary Art Busan, Taipei Biennial 2020 and 2023, ZKM Karlsruhe, Berlin Museum of Modern Art, among others. Her films have been screened at Kurzfilm Festival Hamburg, Taiwan International Documentary Festival, Image Forum Festival and Experimental Film and Video Festival in Seoul, among others.

“Our Non-Understanding of Everything #13” is part of a larger series that explores how the structures of architecture, semiconductors, and circuits become forms of expression reflecting hierarchies, cognitive processes, and relationships to the natural environment. The project is the daily practice of observation, questioning and switching perspectives in order to understand our relationship to our tech-devices and their existence in the world. Motivated by finding ways to imagine what our smart phones want from us and if we can communicate with them, we are using our natural and human built environments to possibly entertain, relax and stimulate the technical devices, that so profoundly influence our conception of the universe and our relation to it.

eteam (Franziska Lamprecht and Hajoe Moderegger) uses video, performance, installation and writing to instigate and articulate encounters at the edges of diverging cultural, technical and aesthetic universes. Through their artistic practice eteam finds ways to collaborate with people who operate on the edges of mainstream culture and the marketplace. They are drawn to those willing to experiment, cross genres and cultural boundaries, they forge proximity and make visible the interconnections we humans share with land, animals, plants, ghosts, deities and objects. Practicing art is their way to enter the “outside,” pay close attention to the details, while trying to understand the whole. eteam’s narratives have screened internationally in video- and film festivals, they lectured in universities, presented in art galleries and museums and performed in the desert, on fields, in caves in ships, black box theaters and horse-drawn wagons. They could not have done this without the support of Creative Capital and The John Simon Guggenheim Memorial Foundation, Art in General, NYSCA, NYFA, Rhizome, CLUI, Taipei Artist Village, Eyebeam, Smack Mellon, Yaddo and MacDowell, the City College of New York, the Academy of Visual Art HKBU and the Fulbright Scholar Program, among many others. Their novel “Grabeland” was published by Nightboat Books in February 2020. They are currently living and working in NYC and Taipei.

Blue Skin is a nine-minute short film by Vivian Caccuri centred on Sabethes albiprivus, an elusive blue mosquito inhabiting South American rainforest canopies. Feeding on primates and rarely seen by humans, its encounters with people can signal habitat disturbance, making its iridescent beauty both captivating and unsettling. Developed with scientists from Fiocruz, internationally recognised for its research on infectious diseases, the film draws on a week of exclusive filming access to a laboratory. Ultra-slow-motion macro cinematography reveals living mosquitoes’ anatomy, movements and life cycle at a scale beyond ordinary perception. No artificial intelligence was used. From hatching eggs to a mosquito biting a human whose skin turns blue, the narrative moves between scientific observation and speculative fiction. Ecological disruption becomes a bodily transformation as fact and invention contaminate one another. Caccuri and Portuguese sound designer Vasco Pimentel, whose collaborators include Wim Wenders, Samuel Fuller, Raúl Ruiz and Miguel Gomes, created an enveloping soundscape inspired by forest life. Through magnified bodies, slowed movements and sound, the film transforms a creature associated with fear and disease into a source of fascination, dissolving the forest’s apparent distance from human life.

Born in São Paulo in 1986, Vivian Caccuri lives and works in Rio de Janeiro, Brazil. After graduating with a degree in Fine Arts in 2007, Vivian Caccuri has participated in numerous group exhibitions in Brazil and abroad. Highlights include the 33rd Panorama of Brazilian Art at the São Paulo Museum of Modern Art (MAM-SP) in 2013; the 32nd São Paulo Biennial – Incerteza Viva (Live Uncertainty) in 2016; the Future Generation Art Prize at the Victor Pinchuk Foundation, Kyiv, Ukraine, in 2017; and, in 2018, the 11th Mercosur Biennial and the People's Biennale as part of the Kochi-Muziris Biennale, India. In 2019, she participated in Somos Muit+s at the Pinacoteca de São Paulo; The Shape of a Circle in the Mind of a Fish with Plants (General Ecology Project), featuring a commissioned work at Serpentine Galleries, London; the 58th Venice Biennale – May You Live in Interesting Times; TabomBass at Faena Art, Miami; and As If: Alternative Stories from Then to Now at The Drawing Center, New York. In 2020, her work was included in Freedom is Outside the Skin at Kunsthal 44Møen, Denmark, and The Musical Brain at High Line Art, New York. Caccuri has also presented solo exhibitions at galleries and institutions, including Água Parada at MAC Niterói in 2018; A Soul Transplant at Röda Sten Konsthall, Gothenburg, Sweden, in 2019; Mosquito Revenge at Kunsthal 44Møen, Denmark, in 2022; and Blue Skin, her first major institutional solo exhibition in Brazil, presented at Centro Cultural Banco do Brasil São Paulo (CCBB São Paulo) in 2026. Her work is part of the public collections of the Museu de Arte do Rio (MAR), the Pinacoteca de São Paulo, and the Institute of Contemporary Art, Miami.