Explora

A cross-generational binding of three filmmakers seeking alternative possibilities to the power structures they are inherently part of. Each woman extends her gaze like an offered hand to a subject she is outside of. Vever (for Barbara) grew out of the abandoned film projects of Maya Deren and Barbara Hammer. Shot at the furthest point of a motorcycle trip, Hammer took to Guatemala in 1975, and laced throughout with Deren’s reflections on failure, encounter, and initiation in 1950s Haiti. 

Hypnotising audio tracks dance to the soundtrack of Canapa’s previous film Jérôme Noetinger, for which Canapa filmed a solo performance by the French sound artist. As a member of the renowned Cellule d'Intervention Metamkine, Noetinger manipulates magnetic tape creating bewitching sounds, now enriched with stroboscopic effects.

Images of friends and landscapes are cut, fragmented and reassembled on an overhead projector as hands guide their shape and construction in this film stemming from Hollis Frampton’s “Nostalgia”. The voice tells a story about a not too distant past, a not too distant ruin, with traces of nostalgia articulated in terms of lore; knowledge and memory passed down and shared not from wistful loss, but as a pastiche of rumination, reproduction, and creation.

In the year 2000, there was a total of fifteen fortified border walls and fences between sovereign nations. Today, physical barriers at sixty-three borders divide nations across four continents. As these walls were being constructed, millions and millions of invisible cosmic particles called muons descended into the earths atmosphere and penetrated meters deep, through layers of concrete, soil and rock. Scientists realized that these deep penetrating particles could be harvested. Muons allowed us to see for the first time the contraband hidden in lead-lined shipping containers and secret chambers buried inside the stone walls of the pyramids. Now no wall on earth is impermeable.
Today, we're all wall, and no wall at all.

ALGO-RHYTHM, shot in Dakar with the participation of leading Senegalese musicians, poets and graffiti artists, probes the insidious but comprehensive threats to human rights and agency posed by the rise of the quantification and algorithmic management of daily life. Using hiphop, drama, street art and data-driven filmmaking, the work explores how our embrace of the convenience of machine intelligence, refracted through the slick interface of smartphone apps, makes us vulnerable to manipulation by political actors.