Programme Paris 2026

One of two Boeing airplanes crashes 6 years ago caused by faulty software killed 157 people including my brother Max. I travel with my father together to the crash site and struck by the humanity of a people who regard mourning as a profound part of their culture.

Teboho Edkins was born in Tennessee, USA, grew up in Southern Africa and lives and works in Cape Town and Berlin. His films have shown at over 500 film festivals, as well as various group and solo exhibitions, including at the Berlinale, the Centre Pompidou and Tate Modern. His films have also been acquired by several public and private art collections. Various film festivals have also presented a showcase of his work, most recently the International Short Film Festival Oberhausen in 2023.

For SO(N)R, multidisciplinary artist Christine AYO created a glass version of Abu, a traditional gourd-based wind instrument used by the Luo people of Kenya and Tanzania, particularly for announcements of death. Sounds produced with this glass instrument in AYO’s studio in the Netherlands are overlaid on amateur 8mm films depicting public life in East Africa in the 1960s. Emerging from this historical, material and geographical dissonance is an enigmatic, disquieting meditation on time and memory.

AYO is a Kampala-raised, Rotterdam-based multidisciplinary artist and filmmaker whose practice positions people as living repositories of knowledge. Working across sculpture, sound, performance and moving image, she approaches filmmaking as a medium for building plural worlds where intangible cultural heritage and materiality intersect in temporal collaborative spaces. AYO is a resident at the Rijksakademie van Beeldende Kunsten in Amsterdam. She has an MFA from Piet Zwart Institute Rotterdam. Her work has been presented at International Film Festival Rotterdam (IFFR), Stedelijk Museum Amsterdam and Kunstinstituut Melly, among others.

A journey through enclosed landscapes—where the microcosm mirrors and resonates with the greater macrocosm. A closed, unchanging system—echoing certain human societies that resist transformation.

Danaya Chulphuthiphong is a filmmaker and artist based in Bangkok. Working across still and moving images, her practice often navigates the intersection of social observation and experimental form. With a background as a documentary photographer, Chulphuthiphong articulates complex concepts through carefully selected tonal imagery, sound, and a keen focus on the materiality of the film medium. Her latest work continues to explore the parallels between microscopic ecosystems and stagnant social structures through the rhythmic qualities of 16mm film. Her debut, Night Watch (2015), was widely recognized for its portrayal of post-coup Bangkok. Chulphuthiphong’s works have been exhibited internationally, including at TIFF, Toronto International Film Festival; Images Festival; International Short Film Festival Oberhausen; Singapore International Film Festival; Experimental Film and Video Festival in Seoul (EXiS); CROSSROADS, San Francisco; and Les Rencontres Internationales Paris/Berlin.

Dancing Standing Still explores grief and the unexpected places where it reveals itself. It is the grief of small boxes that arrive quietly, wrapped in beautiful beginnings. It emerges as questions, asking us to rely on self-trust in unfamiliar emotional terrain. The poem carries the film, offering a place to land as seasons shift in subtle, unassuming ways. It holds space for the tension between movement and pause: dancing as a step into newness, standing still as the quiet moments of processing change. Shot on Super 8, the film relies on the natural imperfections of the analogue medium, woven into texture, colour, and space to make these emotional states visible.

Drea Chuma is an award-winning, Botswana-born poet and multidisciplinary artist based in Amsterdam, whose practice spans poetry, performance and sonic experimentation. Her work has been presented on international stages, including Glastonbury Festival and Stockholm City Theatre, and her debut poetry album is archived at the U.S. Library of Congress. Her poetry has previously been adapted into festival-screened collaborative films. Dancing Standing Still marks her independent directorial debut, bringing her way of seeing as a poet and performer into dialogue with the materiality of Super 8 film.

In the spring of 2023, I purchased 20 tons of soil from the Jinye Shuonuo Mountain Range in Liangshan Yi Autonomous Prefecture, transported from Wenjiang Flower Market in the suburbs of Chengdu, Sichuan Province, to the Ji Huo Art Space in downtown Chengdu. I planted seeds from the United States in the soil and cultivated a poem from the grass over one month.two sheep, borrowed from a Liangshan herdsman, ate the poetry during a seven-day live exhibition, leaving behind their feces. Finally, the two sheep were returned to my cousin, and the soil was taken back to the cliff top of Jinye Shuonuo Mountain, 646 kilometers away, and scattered over the edge. Poetry as follows… I guess the peaks of the Hengduan Mountains are heavily snowed tonight White snow conceals the mountains The wild wind is rampant, but not as daring as white metal The wind turbine’s giant blades spin as always Providing power to countless distant mobile screens Sheep simply bleat Countless elderly people coming down the mountain into the town believe in ibuprofen But they have no ibuprofen Elderly people on the mountain with fever Waiting for ancestors to take them away at any moment People there do not believe in ibuprofen Only in fate. January 1, 2023, 23:47

SheYang Sibo , born in 1996, a descendant of the Hengduan Mountains. Its mother comes from Liangshan Mountain range, and father from the Wumeng Mountain range. It descends from the Nuosu (Yi) people of Wumeng, a branch of the ancient southwestern Yi ethnicity, and is the 58th generation of the Zi mo lineage. From a young age, it practiced painting and moved back and forth between high mountains, canyons, and urban skyscrapers, engaging in reality through actions, events, vedio, poetry, installations, sound, and other means.

20 Hz-384,400 km centres on the charred remains of the Scottish Dark Sky Observatory. The site, which was allegedly burned down by local youths in 2021, acts as a symbol of the conflict between the immediate, tangible environment and technological abstraction.?? The work takes its name from the lowest audio frequency that the human ear can detect and the distance from Earth to the Moon. Combining filmed and found footage, text and audio, it explores the micro boundaries of the human senses and the macro extremities of the charted cosmos. Sounds processed from planets and the central nervous system merge with a cinematic interpretation of a Buddhist proverb, a negative TripAdvisor review and images of burning stunt performers.?? Inward and outward perceptual margins are formed through scientific and sensorial limitations and seemingly self-sabotaging acts.

Graham Kelly is a visual artist and filmmaker. His practice is situated in the interfaces between contemporary physical and digital forms of images, bodies, and environments. By considering these interactions as engulfing and continuous states or effects, his work seeks to expose and dissect power structures that are cast, distorted or enforced within them. His works have been screened and exhibited in a number of international contexts that include: Eye Filmmuseum (Amsterdam), Haus der Kulturen der Welt (Berlin), International Short Film Festival Oberhausen, Kino der Kunst (Munich), LUX (London), MSU (Zagreb), NEST (The Hague), TENT (Rotterdam), Transmission (Glasgow), and XYZ collective (Tokyo). He was a resident at the Jan van Eyck Academy in 2015/16 and at AIR Berlin Alexanderplatz in 2018.

Carmen: Utopias of Belonging reappropriates a 16th-century poem written for Pope Leo X to follow the European bison, from a failed diplomatic gift to the contested Polish-Belarusian border today, asking who is seen, who remains peripheral, and how cultural value is assigned.

Ieva Lygnugaryt? (b. 1998) is an interdisciplinary artist and researcher whose work engages questions of memory, time, ethics, paradox, and urban space. She is currently based in New York, after receiving a MDes in Narratives at Harvard University. She graduated in 2023 from The New School, Parsons School of Design in New York with a BFA in Fine Arts. Her current research project, "Carmen: Utopias of Belonging," developed in collaboration with art historian Meral Karacao?lan, traces forgotten entanglements between European history, animality, and the politics of taming. Lygnugaryt? also works as part of the artist duo CASE, founded together with artist Xavier Muchel. She has participated in exhibitions and screenings in the United States, Lithuania, France, and Mexico, and was a visiting artist/scholar at the American Academy in Rome (December 2025 – January 2026). Meral Karacao?lan (b. 1997) is an art historian and curator working at the intersection of contemporary art, institutional history, and cultural memory. Her practice investigates how exhibition-making can engage historical narratives, systems of representation, and questions of visibility within the Western European art canon. She is a PhD candidate in Art History at the Humboldt University, Berlin.

"A Sunken Tale of Losses Delayed" unfolds aboard The Restitution, a ghostly ship adrift in the Mediterranean. Starring Maisa Abd Elhadi as the enigmatic Captain, the film assembles castaways from across eras into a floating archive of looted artefacts—some real—evoking the legacy of imperial collecting. As time fractures and memory drifts, the narrative explores how religion, myth, and power shape identity and history. At its centre is a sacred relic box, a vessel for examining territorial aura and cultural storytelling.

Larissa Sansour is a Palestinian artist working primarily with film, photography and installation. She was born in East Jerusalem and studied fine arts in London, New York and Copenhagen. Central to her work is the dialectics between myth, documentary and historical narrative, often explored through the lens of science fiction. In recent years, Sansour has been examining the role of nostalgia, memory and inherited trauma for personal and national identity. Her films and installations have garnered critical acclaim for their cinematic visuals and subversive storytelling. Sansour’s work is in included in major collections and shown in galleries, museums and film festivals worldwide. In 2019, she represented Denmark at the 58th Venice Biennial. In 2020, she was the shared recipient of the prestigious Jarman Award (UK). She has shown her work at Tate Modern, MoMA and Centre Pompidou. Recent solo exhibitions include Kunsthal Charlottenborg in Copenhagen, Wereldmuseum in Amsterdam, Amos Rex in Helsinki, Whitworth Gallery in Manchester, KINDL in Berlin, Gifu Museum of Contemporary Art in Japan and EMST in Athens. Sansour is currently working on her first arthouse feature film, In Memory of Times to Come, shooting this autumn. She lives and works in London, UK.

You send me’ is a project created by Iria Vrettou (animator) and Andrew Stephens (musician). The piece draws from the queer revolutionary history of jazz, the blues queens and explores jazz as an experience of exteriorization inspired by the works of Fred Moten. The three hand-drawn animated loops are comprised of hundreds of drawings each. They explore the evolutionary origins of dancing as a primordial language and pleasure as a revolutionary act. They are conceived, and unfolding, as a world of many worlds, a (queer) oddkin. In collaboration with dancers Adonis Vais and Anastasia Delta, and Adrianos Efthymiadis & Ariadne Strofylla, the creatures come to life through the original music written and performed by Andrew Stephens in collaboration with Ben Goldberg, Georgia Heers and Jayla Chee. The project was commisioned by curator Nadja Argyropoulou for the exhibition ‘Outraged by Pleasure’, and evokes the title of the show in its core.

Iria Vrettou (she/they) is an artist, born in 1995 and based in Athens. They hold a Diploma in Animation from University of the Arts London and an MA in Contemporary Art Practice- Moving Image from the Royal College of Art, London. Their work is primarily focused on concepts and modes of hybridity as methods of research and practice, whilst addressing aspects of hand-drawn animation, performance and installation in relation to their conceptual, ecoqueer functions. Their practice critically examines the function of the ‘screen’ in the context of cultural production and political processes, and explores the creation of artworks that can work as disquieting, complete spatiotemporal experiences. Within this framework, in the last couple of years they has developed a keen interest in the real and symbolic life of volcanoes. They have participated in various art projects in Athens, London, New York, Seoul and others. They have been awarded the Stavros Niarchos Foundation Artist Fellowship by ARTWORKS (2021). They were a resident of International Studio & Curatorial Program (ISCP) in New York City (2022). They are awarded and pursued a Fulbright Fellowship at Columbia University in New York City (2024-25)

The film explores the garden of DADA Artist Hannah Höch, wich was laid out as a collage and served as her living space, refuge and source of inspiration during Nazi era. The Garden becomes the starting point for a subjective cinematic exploration in which images, traces and voices intertwine. Original audio recordings from contemporary witnesses offer a glimpse of Hannah Höch beyond her public image. 

Dirk Peuker Born 1970, Friedrichroda; lives and works in Berlin. He Studied experimental filmmaking at the Universität der Künste Berlin and Fine Arts at the Akademie der bildenden Künste Vienna. He is teaching film and video at Weißensee Academy of Art Berlin since 2009.

'Ritraccia' is a dual-screen work inspired by Italian filmmaker Pier Paolo Pasolini. One screen follows a woman as she retraces and redraws a new trajectory through the locations of Pasolini’s films. The other screen retraces paths at two historical sites in Rome: the Foro Italico, an example of Italian Fascist architecture; and the Fosse Ardeatine, the site where 330 Italian civilians were executed by German occupation troops during World War II. The work is narrated by Pasolini who reads excerpts from his poem, 'The Ashes of Gramsci'.

John Di Stefano is an artist/filmmaker, writer and academic. His creative practice focuses on reconciling the personal with the social, the everyday with history by revisiting archival material. This documentary-based work often deals with his own immigrant past seen through a queer lens. He currently teaches at Concordia University (Montreal) Cathy Lee Crane is an experimental filmmaker and producer whose work mines the historical archive to produce lyrical films of speculative history. She was a Guggenheim Fellow and currently teaches at Ithaca College (New York)

In Leisure, a female trick rider performs the ancient war trick of falling from the saddle and feigning death. The fall interlaces with images of workers in Hazmat suits cleaning an amusement shooting range, alongside found footage of U.S. Army soldiers posing in a Mannequin Challenge. The camera circles in these static scenes, which are all part of an entertainment industry where playing dead and playing with death coexist in a loop of maintenance, repetition and exhaustion.

Freja Sofie Kirk is a visual artist based in Berlin. She graduated from The Royal Danish Academy of Fine Arts in 2024 and has had solo exhibitions at palace enterprise, Copenhagen, 2026; O—Overgaden, Copenhagen, 2026; Simian, Copenhagen, 2024; and Inter.pblc, Copenhagen, 2024. She has been included in group shows at KLEMM’s, Berlin, 2026; Centre for Photography, Copenhagen, 2026; NEVEN Gallery, London, 2025; Kunsthal Charlottenborg, Copenhagen, 2024; 5533, Istanbul, 2023; Copenhagen Contemporary, Copenhagen, 2022; Bianca D’Alessandro, Copenhagen, 2022; and Kunstforeningen Gl. Strand, Copenhagen, 2020.

Filmed at Aoyama Hachi and Kinone Pension, two locations which tributes to the act of protest and resistance against authoritarian power, the work follows a group of people dancing, walking, reading, and discussing various aspects of conflict, life struggles and their answers to this with initiatives and creative work. Throughout the film, they exchange personal stories and insights, each scene bringing differing but overlapping issues. Aoyama Hachi is a small club in the Shibuya area of Tokyo that hosted the first queer feminist WAIFU parties in 2019. Kinone Pension is a house surrounded by strong metal walls squeezed between the runways of Narita Airport, a memento from the Sanrinzuka Struggles, which has aimed to halt the airport construction. The conversations also evoke the work of the author Fumiko Hayashi and pioneer filmmaker Kinuyo Tanaka, two strong feminist and class-conscious artists popular in the middle of the last century. The appearance of the contemporary cast reacting to this, connects us to queer feminist presence in a world still dominated by patriarchal values. Appearances and dialogues by aliwen, Andromeda, Chelsea Szendi Schieder, Hanna Hirakawa, Kanae Tanikawa, Midori Morita, Takeru Arai, Yiqing, Yoshiyuki lshikawa

wendelien van oldenborgh is an artist-filmmaker who uses the cinematic format as a methodology for collaborating with participants in different scenarios, to collectively create film works. Her installations are exhibited worldwide in the art and museum context. Recent solo presentations include: Dance Floor as Study Room 2024/25 at YCAM, Yamaguchi; unset on-set at Museum of Contemporary Art Tokyo (MOT) 2022/23, tono lengua bocaat CA2M Madrid 2019-20; Cinema Olanda, at the Dutch Pavilion in the 57th Venice Biennial 2017. Her films Two Stones (2019) , Hier. (2021), of girls (2023) and A Prelude (2025) premiered in the International Competition of FID Marseille and first feature, Lyrical Vengeance, premieres at the Envisions Competition at IDFA 2026 Amsterdam. Since autumn 2025 she is professor at the Academy of Fine Arts in Vienna.

Comment devient-on un fantôme dans sa propre maison ? Pieds nus, les cheveux défaits, vêtue d’une robe déchirée, Veronika Dräxler incarne Henriette Poincaré – comme un reflet, une ombre, une présence fugace entre les murs. Elle traverse la frontière entre sujet et objet, entre présence et absence, entre histoire et imagination. Elle interroge la relation entre espace et corps, pouvoir et représentation. Le titre fait écho à une désignation historique : Henriette – femme d’origine allemande et italienne, issue d’un milieu modeste – fut qualifiée par la presse de femme sulfureuse, parce qu’elle avait épousé Raymond Poincaré en troisièmes noces, juste avant son élection comme Président de la République française. Pendant la Première Guerre mondiale, elle fut Première Dame au Palais de l’Élysée. Elle vécut ensuite au 26, rue Marbeau, un hôtel particulier dans l’ouest parisien, où elle mourut en 1944. Cette maison – devenue plus tard résidence de diplomates allemand·e·s – devient une partenaire à l’image. La caméra la parcourt : comme portail, comme archive, comme témoine. L’architecture devient dépositaire de mémoire, se transforme de l’objet au sujet et renégocie sa signification à travers les régimes politiques successifs. Parallèlement, le film examine la position de la femme aux côtés d’un homme en fonction publique – et le glissement silencieux de son rôle, du sujet à l’objet dans la fonction de l’autre. Un souvenir teinté de la biographie d’Henriette ouvre une fenêtre vers la Bavière : dans une villa vide à Wolfratshausen, une reproduction du tableau L’Anatomiste (Gabriel von Max, 1869) – un homme observe une jeune femme morte. Corps, présence muette, surface de projection. Que révèle le regard masculin ? Femme Sulfureuse est une exploration poétique de l’agency féminine dans les espaces diplomatiques – et un acte radical de réappropriation. Femme Sulfureuse est soutenu dans le cadre du programme Verbindungslinien du BBK Bayern, financé par le Ministère bavarois des Sciences et des Arts, ainsi que dans le cadre du doctorat SACRe – Sciences, Arts, Création, Recherche mené à l’École normale supérieure / Université PSL, Paris.

Veronika Dräxler est une artiste et cinéaste germano-équatorienne qui remet au jour des tombes oubliées, entre en dialogue avec les morts et redonne corps à des femmes invisibilisées par l’histoire. À la croisée de la performance, du cinéma expérimental et de l’essai filmique, elle explore la manière dont la violence, la mémoire et les rapports de pouvoir s’inscrivent dans les corps et les lieux. Ses films mêlent recherche historique, incarnation et fiction pour faire ressurgir les traces du passé dans le présent. Actuellement doctorante au sein du programme SACRe à l’ENS–PSL à Paris, elle développe *Femme Sulfureuse*, un projet de recherche-création autour de la diplomatie féminine invisible, de la mémoire et des architectures du pouvoir. Ses œuvres et ses recherches ont été présentées à l’international, notamment à Manifesta 11 (Zurich), au ZKM (Karlsruhe), au Museo Pumapungo (Cuenca), à la Sorbonne (Paris) et à l’Escuela Politécnica Nacional (Quito). Son film expérimental *Traces of Life / How to Kill* a reçu une mention spéciale du jury au Festival Turicine (Quito), où il a été présenté en première sud-américaine. Elle vit et travaille entre Paris et Munich.

The Making Of the Lure accompagne la production d’un film sur la dette (une satire politique dont le personnage principal serait Pinocchio, personnage endetté devenu Roi de la Dette, et prêt à tout pour le rester. Le film satirique reste au conditionnel, et ne s’attarde qu'à la fabrique du leurre, celui de la tentative de construction d’un film qui implique des enjeux et propos politiques, celui de l’épineuse représentation d’une mécanique de la dette infinie, privée, publique et symbolique. Son système manipule et orchestre entourloupes et triches légales pour parvenir à ne jamais clore, ni fiction, ni réalités économiques et émotionnelles.

Eva Barto est artiste. Son travail a fait l'objet de plusieurs expositions personnelles en France et à l’étranger, notamment à la galerie gb agency (Paris, 2016), au Centre d’Art de la Villa Arson, (Nice, 2016), au Kunstlerhaus Stuttgart et au Kunstverein Nürnberg (2021), au Plateau Frac Ile-de-France, ainsi qu'au Macro Museum à Rome (2022). Il a également été présenté dans des expositions collectives à la Biennale de Rennes (2016), à Kadist Foundation (Paris, 2016), au Wattis Art Center (San Francisco, 2017) à la galerie Max Mayer (2018, 2021), au musée de la Secession (Vienne, 2018), à la Biennale d’Anafi (Grèce, 2019), ainsi qu’au Palais de Tokyo (2024). Elle est co-fondatrice du collectif de droits des travailleur-euses de l'art La Buse et de l'émission ForTune sur * Duuu Radio (2018-2022) et a enseigné en master Art à l’école des Beaux-Arts de Lyon (2019-2025).

An 8-minute opera in five acts, written for an artwork that has learned it is about to be flagged, moderated, and erased. The libretto - performed by an AI voice - moves through survival strategies: how to leak like a suggestion, how to be misunderstood on purpose, how to seduce the classifier with symbolic hygiene. The voice addresses the artwork itself, guiding it through rituals of formatting, compression, and barometric flirtation. The opera interrogates collaborative censorship – the slow rewriting of creative work by AI content moderation systems – as both aesthetic phenomenon and institutional critique. Each segment is passed through a cascade of AI systems: opera synthesis, diagrammatic visuals, vector bodies, sonic interpretation. Each layer misreads the last.

Malpractice is a Vienna-based artist duo formed in late 2024 by Chiara Kristler (b. 1998, IT/AT) and Marcin Ratajczyk (b. 2002, PL), both at the Department of Digital Arts, University of Applied Arts Vienna. Their practice builds functional systems to observe how human communication and social structures adapt to algorithmic logic. Rather than using AI as a tool, they collaborate with it, study alongside it and treat it as a medium with its own aesthetics and politics. Their work spans AI agents, film, performance, interactive environments and performative lectures. Their ongoing project Flynn (2025–) is an AI agent that was accepted as a student at the University of Applied Arts Vienna through the regular entrance examination. Recent presentations include the 2026 Wuhan Biennale, a solo exhibition at Francisco Carolinum, Linz (2025–26), and group exhibitions at Drugo More, Rijeka; Schlachter 151, Berlin; HeK, Basel; and the Digital Art Mile at Art Basel. Their film Fatigue Archive screened at Rencontres Internationales Paris/Berlin in 2025. Don't Be Such an Image received a Special Recognition from Art Center Nabi, Seoul (2026). Malpractice are Rauschenberg residents at ZKM Karlsruhe (2026–27).

Le projet "Champ lexical", toujours en cours, s’intéresse à la réponse des musées à l’impératif du développement durable, qui vient sous forme de loi au Québec. Cette réponse s’avère être, au Québec du moins, principalement d’ordre discursif. Le projet repose d’abord sur la captation d’images 16 mm aux abords du Musée national des Beaux-Arts du Québec (MNBAQ), réalisée entre 2024 et 2026. Cette captation documente la démolition du Pavillon central et la construction du Pavillon Riopelle, ainsi que le site entourant ces mêmes pavillons, sur les plaines d’Abraham. Le projet s’appuie également sur un travail de génération automatique de sous-titres, attribués en temps réel à chacun des clips issus du montage vidéo. Pour ce faire, toute la matière textuelle du site Web du MNBAQ a été extraite et analysée automatiquement par le programme d’intelligence artificielle Claude, entraîné à reconnaître le langage du développement durable. Les sous-titres, tout comme la bande-son, ont été réalisés de manière automatisée et reflètent l’interprétation de chacune des images vidéo par l’apprentissage machine. Attribués en temps réel grâce au logiciel TouchDesigner, ces sous-titres changent d’un visionnement du montage à l’autre.

Geneviève Chevalier est artiste en arts visuels et médiatiques, et professeure agrégée à l’École d’art de l’Université Laval à Québec. Elle a été artiste en résidence à la Cité internationale des arts à Paris en 2026, au Muséum national d’Histoire naturelle à Paris et au Domaine de Belval du Musée de la Chasse et de la Nature à Paris en 2026; à ACME à Londres en 2022 et en 2020 et au Centre for Contemporary Arts de Glasgow, en 2017. Son travail a été présenté au Festival International du Film sur l’Art et à la Cinémathèque québécoise en 2024; et dans des expositions individuelles à VU, centre de diffusion et de production de la photographie, Québec, en 2028; à AdMare, Îles-de-la-Madeleine, en 2024; à la Galerie UQO, Gatineau, en 2023; à la Galerie d’art Foreman de l’Université Bishop’s, Sherbrooke, en 2022; à Dazibao, Montréal, en 2021; à Optica, Montréal, et au Musée régional de Rimouski en 2018. Son travail a été présenté en 2027-2026 dans l’exposition collective Un monde en commun, à la Biosphère. Espace pour la vie, à Montréal. Une monographie de son travail, Mirement/Towering, est parue en 2023.

Community Guidelines is set in a dystopian near future where images are heavily censored. In a fictional talk show, the host talks with Eidol, a former content cleaner on social media. She used to censor violent and traumatic imagery, already blurred by the platform. She describes the psychological consequences of her work and a strange phenomenon: abstract objects that she dreams about begin to materialise in reality, affecting her and other people emotionally. Throughout the interview, the sense of unease grows. Is Eidol even human at all? Blending humour, vulnerability, and sci-fi elements, the film explores how technology and particularly the increasing use of AI to filter content, shapes empathy, autonomy, and our ability to confront the pain of others.

Maren Dagny Juell is an artist based in Oslo, working with moving image, installation, virtual reality (VR), and augmented reality (AR). Maren uses a visual language that references recognisable narratives from online information culture, media, and literature. With humour, vulnerability, and doubt, she examines the impact of technology on individual autonomy. Maren has had several solo shows in Norway and been included in group exhibitions at, among others; the Astrup Fearnley Museum (2008), Stavanger Art Museum (2015) and Bergen Center for Electronic Art (2021). Films have screened at places like AMIFF, ZK/U Berlin, The Rencontres Internationales Paris/Berlin (2023/2024) and National Museum of Oslo (2025). Biennial include; Riga Photography Biennial (2020), Meta.Morf Trondheim International Biennial of Art and Technology (2022) and Art Encounters Biennial, Romania (2023). In 2024 she won the Lumen Prize, Nordic Award and in 2026 a CIFRA award.

"do you feel that too?" features Kageusa, a young VTuber and veterinary student specializing in virtual animals. Between kawaii softness and creepy unease, the video unfolds as a looping sequence shot in which the initial situation of online address gradually breaks down: what first seemed to belong to a stream, an exchange with an audience, or a staging of the self becomes a more uncertain experience, where the point of view circulates between the character, the device and the space that surrounds her. The film continually shifts our position as viewers, moving from a frontal relation to more ambiguous regimes of vision: subjective viewpoint, observation from a moving phone, mirror, technical camera, and an almost intrusive or threatening presence… Drawing on the codes of streaming, VTubing and parasocial relationships, "do you feel that too?" considers virtual presence as a contemporary technology of subjectivation. Beyond the mask or the character, the avatar functions as an environment: a surface of attachment, projection, control and vulnerability. The film thus moves the stakes of digital embodiment into a more sensory and political zone, where the fatigue of visibility, the desire to be otherwise, the affective economy of platforms and the anxiety of an image that begins to look back all intersect.

Émilie Brout & Maxime Marion explore how images, bodies and subjectivities are shaped by contemporary technologies. Working mainly with video, internet cultures and networked communities, they ground their practice in extensive research and iconographic investigation. Through open, non-linear and non-heroic approaches, they question contemporary forms of embodiment and the instability of images. Their pieces develop critical and emotional narratives in which economic, political and social conditions remain visible, creating a sensitive dissonance between narrative immersion and the perceptible unveiling of the mechanisms at play. Émilie Brout & Maxime Marion began their collaboration at the École Nationale Supérieure des Arts Décoratifs in Paris. Their work sits in public and private collections such as the Centre Pompidou, FRAC Ile-de-France, collection Famille Servais or Cloud Seven, and has been featured in numerous media outlets including Le Monde, Art Press, Zérodeux, Libération, Art Viewer, New York Observer, Tracks, BBC and Frieze. They were laureates of the Villa Kujoyama residency in Kyoto in 2025. Previous exhibitions and screenings include Kunsthal Charlottenborg, Copenhagen; Total Museum of Contemporary Art, Seoul; KW Institute for Contemporary Art, Berlin; Centre Pompidou, Paris; BIAN International Biennale, Montréal; Villa Arson, Nice; Feral File, WWW; Young Art Triennale, Casino Luxembourg; Thessaloniki International Short Film Festival; Louvre Auditorium, Paris; Haus der Kulturen der Welt, Berlin; MAC VAL, Vitry-sur-Seine; Redline Contemporary Art Center, Denver; OCAT Shenzhen; Moscow Biennale for Young Art; Seongnam Art Center; Palais de Tokyo, Paris. They have had solo exhibitions at 22,48 m², Paris; 40mcube, Rennes; La Chaufferie, Strasbourg; Pori Art Museum, Pori; Villa du Parc, Annemasse; Steve Turner, Los Angeles.

Le projet Aperto Every Where At Dog's - Eye Level _ APERTO par TOUT, à hauteur d’un chien est un hommage rendu au commissaire historique Harald Szeemann pour le 20e anniversaire de sa disparition. En 1999 Szeemann est le commissaire de la Biennale de Venise dAPERTUTTO, une vidéo est réalisée lors de l’inauguration, caméra à bout de bras, à hauteur du museau d’un chien. Il s’en suit, une promenade chaotique et saccadée dans laquelle les œuvres deviennent inexistantes, rongées par l’errance d’une foule, dans un brouhaha inaudible. Curieux protocole, présentant des codes vestimentaires et de comportement, tel un rassemblement ethnographique d’un ensemble d’individus arpentant salles et allées en un rituel énigmatique. Seuls les vidéostills permettent d’entrevoir quelques œuvres impossibles à discerner dans le flux de la projection. La bande sonore restitue le brouhaha indistinct, seuls quelques mots surgissent de façon aléatoire : « oui, effectivement », « juste », « le temps », sans liens, palimpsestes d’un code déjà évanoui. Aperto Every Where At Dog's - Eye Level porte un regard critique sur les grands rassemblements d'art contemporain. Dépouillés de leur contexte, ils s'apparentent à un rituel énigmatique, semblable à celui d'un groupe ethnique inconnu.

Anne Deguelle, artiste inclassable, explore la nature d’œuvres emblématiques du XXe siècle à travers des pratiques variées. En se penchant sur des détails souvent délaissés par l’histoire ou la critique d’art, elle redéfinit les contours mouvants de ce que recouvrent les termes « art » et « œuvre ». À travers des ensembles de travaux intégrant documents, indices et recherches, elle réexamine et réinterprète des figures majeures telles que Duchamp, Beuys, Roussel, Freud et Manzoni. Cette démarche d’investigation s’applique également à des lieux précis ; notes et documents deviennent alors partie intégrante de l’œuvre et déterminent son statut. Elle privilégie une narration non linéaire et dépourvue de toute posture autoritaire, faisant place à l’imprévisible et à l’intuition en tant qu’approches méthodologiques. On la qualifie souvent d’artiste-chercheuse.