Proyector 2026

Scent

Alan Kwan

Scent is a short cinematic game in which the player embodies a dog in a war-torn city, collecting the souls of the dead and witnessing atrocities. Devoid of specific historical or geographical references, it immerses players in a visceral and sensory world of fear, darkness, and fleeting hope. The work exists in two distinct formats: (1) an immersive cinematic game installation, in which one visitor controls the dog while others observe as a cinematic and sensory experience, and (2) a live cinematic performance, in which the artist presents a game in real time, controlling both the dog and the camera to deliver a complete live cinematic experience.

Shadow-Forest

Go‑Eun Im

One summer day in 1845, Henry David Thoreau ventured into the woods and built a small cabin to live in for a while. Inside, he placed three chairs: one for solitude, one for friendship, and one for society. Now, 180 years later, we enter his home to stay for a time and build a forest of shadows in which to place three tables. Thoreau left behind writings and drawings in which he carefully observed the lives of various animals and plants in the forest. The traces he left behind are reimagined in a performance interwoven with other stories and shifting shadows between light and darkness.

Refugio (Shelter)

Favio Redondo

Refugio is a video installation that explores mental spaces, memory and its binary destructive-creative condition. It delves into the workings of trauma and its traces, into the remnants. It gives a face to those lost and almost forgotten images that survive as mere textures and icons of once complete images. The experience involves projecting a 12-minute video inside a vehicle. Two people, whether acquaintances or strangers, sit in the back seat and close the doors. In total darkness, they enjoy a shared experience together, a small cinema in an everyday, familiar, and unfamiliar place.

Untitled (Game Bird)

Fani Boudouroglou

The work examines the complex relationship between technology, ritual, and the remnants of the natural world. In a former mining site, marked by the traces of environmental exploitation, a robotic arm performs a repetitive, almost ceremonial gesture with the taxidermied body of a bird. Carefully gathering its feathers, the machine incorporates them into its own mechanical structure, forming a symbolic tail.

Destellos (Flashes)

Emiliano Reyes

Navigating an alien time, frame by frame, amidst fragmented lights and timeless sounds, Destellos transforms a farmhouse in the forest into a centrifugal force: an entity that observes, feels and listens to the life of its inhabitants.

Artificios (Artifices)

Chus García Fraile

This video takes the wartime origins of fireworks as its starting point to explore their links to spectacle, performance, and artifice. Through a succession of images that evoke both nighttime celebrations and real bombings, the work raises a reflection on the ambiguity of "fireworks" as a simulation of "real fire." In a mediated world where the real and the represented are blurred, the video confronts beauty and violence to underscore the tension between celebration and destruction.

Angolo inferiore mancante (Angle inferiore missing)

Bruno Delgado Ramo

Some damage to the bottom and one side. A small chip in the corner above the masked area. Partially missing where a window had been in the lower section. When backlit, a cutout is visible at the top, outlined with red paint. Traces of adhesive tape. A rigid support is missing. Numerous warping issues have developed.

Ljuba

Bojan Fajfric

The video "Ljuba" explores two historical events of 1989 through the personal lens of a Belgrade television cameraman. In the summer of 1989, Ljubomir Sekulić (known as Ljuba) documents the mass demonstration in Gazimestan, Kosovo, which consolidated Milošević's rise to power and marked the prelude to the bloody disintegration of Yugoslavia.

LeyOrgánica4/1997 (Organic Law 4/1997)

Ángel Biyanueba

Through images of the sky—a universal symbol of freedom, vastness, and the absence of limits—the work proposes a reflection on how mass video surveillance conditions our everyday freedoms. Paradoxically, these images appear enclosed in squares that evoke surveillance screens and generate a constant feeling of control. The contrast between the serenity of the clouds and the discomfort produced by these rigid frames highlights the contradiction between the idea of ​​freedom and the reality of a permanently monitored society. In this way, the work denounces how the continuous presence of cameras in our daily lives transforms and limits privacy and alters the way we act, observe, and relate to space, giving rise to a freedom that is only apparent: a monitored freedom.

Mientras todo cambia (While everything changes)

Andrea Novoa

Taking as its subject the emergence of a group of rocks after the draining of Lake Caburgua in the Araucanía region, *Mientras todo cambia* (While Everything Changes) inverts the logic of the lighthouse—erected to illuminate the twilight—to point, instead, to the place of an absence. The underlying reasons would come to light over time: a dam built by private individuals—with the consent of the so-called "General Directorate of Water"—had diverted the course of one of the lake's main tributaries. Through 16mm film, photochemical experiments, and the assembly of a multi-channel installation with analog projections, sensitive to the glare and friction of the surfaces presented to it, the artist explores the plastic transformations that manifest themselves both on celluloid and on the earth's crust. The exposure of these critical and delicate processes—mediated by layers, emulsions, and light reactions—reveals the audacity of those who, with no regard for the environment, seek to impose their own order and end up being overthrown.

Pelea Como una Chica (Fight Like a Girl)

Gözde Mimiko Türkkan

Short film accompanying the project of the same title, exhibited and performed at the 15th Havana Biennial at the Wifredo Lam Center for Contemporary Art, in collaboration with Namibia Flores Rodríguez. Black Panther Namibia, Lioness Lia – They Say: You Fight Like a Girl.

Cloud of Polyphony

Hanchen Zhang

Cloud of Polyphony is a meditative journey through the abandoned landscapes of the large data centers in Guizhou, China. As the camera pans across decaying infrastructure, once celebrated as symbols of technological progress, we witness the contrast between the futuristic ambitions of the data industry and the natural reclamation of these spaces by wildlife.

LUF Scope

HeeSue Kwon

LUF Scope is an expanded cinema work that explores the full potential of film projection under minimal conditions. It unfolds as a live projection centered on the feedback loop between the screen, the camera, and the audience's presence in the here and now. Using a shutter speed control device, the work exposes the color spectrum of the projector's internal color wheel onto the screen, making the projection's optical mechanism visible through movement. This spectral field is continuously captured by a live camera, revealing not only the interaction between camera and screen but also the audience as they observe themselves observing. Rotational movements circulate in real time within the projector, across the screen's surface, through the camera lens, and into the eyes of the viewers, producing a cinematic system of self-observation. In this loop, the projection becomes both image and event, grounding the experience in the immediacy of the present moment.

Äther

Hilsamer / Max Hilsamer

The short film Äther explores the circular architecture of ancient visions of the future: greenhouses, abandoned domes, and spaces where a good life was once envisioned. Is it possible to arrive too late at the end of history and build a welcoming home among the ruins of past dreams? At least for a while?

POLYPHEM (Polifemo) (POLYPHEM (Polyphemus))

Ilaria Di Carlo

POLYPHEM is the second chapter in a series of landscape short films that reinterpret the various stages of the journey narrated in Homer's Odyssey , transposing them to the context of the Anthropocene. Loosely inspired by the myth of Polyphemus, the film uses the red color of bauxite waste as a metaphor for the wound and threat caused by human intervention.

Do Not Drop

Julian Palacz

A medium-sized package leaves the artist's studio in Vienna bound for Dundee, where it is received at the exhibition space. This everyday logistical process becomes the core of Julian Palacz's research. Equipped with a hidden camera, microphone, GPS device and motion sensors, the package autonomously collects data throughout the journey, revealing the usually invisible transit spaces and logistics infrastructures that regulate global trade.

Calling From Work

Karel van Laere

In Calling from Work , I call my parents while walking. During a three-month stay in Kaohsiung, Taiwan, I called them once a week. When we talk, they usually have no idea where I am, while I know exactly where they are at that moment: in the living room, sitting on the sofa, right next to the Wi-Fi router. For the conversation itself, that information is irrelevant, but the contrast between my parents' voices and the places I'm passing through creates an absurd reality. Calling from Work reflects on the tension between the small, domestic, and familiar, and the experience of being far away, immersed in a global environment. To what extent is it important to know exactly where someone is?

Danse Serpentine

Louis Lumière

A series of film recordings inspired by the choreographies of Loie Fuller, where body, light, and movement anticipate modern and symbolist sensibilities fundamental to the visual culture of the early 20th century.

Los archivos del suelo (The soil archives)

Maddi Barber

Hands unearthing stones, flint, pottery, and bones. In the San Adrián tunnel, archaeologists search for traces of Neanderthals. Still lifes of artifacts, filmed in the 1970s in the Basque Country, evoke a second excavation: that of the film archives. The archives of the ground bridge distant eras, separated by 40,000 years, inviting an encounter between past and present.

Swallowed matter

Mira Klug

The landscape is composed of layers. As a spatial and material document, it is marked by capitalist exploitation and episodes of ecological violence. The experimental video *Swallowed Matter* links a disappearing reservoir in Spain with the growing mechanisms of economic exploitation, focusing on data centers. Without showing any data centers, the video connects this almost invisible, water- and energy-intensive infrastructure with the remains of a dried-up reservoir. Starting from its original function as a drinking water reserve and space for energy production, the work interprets this place as a "feeding ground" for artificial intelligence and explores how technological progress is drastically inscribed on the landscape. The work conceives of artificial intelligence as a body of water and observes this reservoir as a ruin in which future and past collide.

Bilharf Alwahad بالحَرف الواحَد

Mutaqaa Malo Lacroix

In an abstract, pictorial form, this short film depicts rootedness and forced exodus. Unable to settle in the land, compelled to transform itself and stripped of its possessions, matter becomes empty, dense, saturated, and battered. Working under the principle of mise en abyme, director Malo Lacroix offers a personal vision of the conflicts in the Middle East and the violence imposed by one nation upon another. Using images from paintings by François Giovangigli, the montage offers a synesthetic experience that acts upon the unconscious and leaves the viewer questioning the weight and imprint of war on reality.

Waterworks

Nils Benedikt Fischer

Six analog GIFs circulate on custom-made loop projectors. Using found archival footage and self-produced images, the work presents the journey of a tear falling from a blind eye to the earth. Water Works is a personal exploration of the state of isolation and the freedom to dream.

Trazos Generacionales (Generational Traces)

Paola Guzmán Figueroa

The work explores the ritualistic nature of memory, care, and migration through the lens of four generations of women in my family. In this piece, the 16mm film is literally entangled, as I explore the process of producing frames on analog film using my own hair. These abstract explorations are interspersed with documentation of a performance filmed with my grandmother, mother, sister, aunt, and nieces, along with footage I shot myself at sea and on lakes. Waterways act as a connecting element between these scenes, alluding to the role that water and oceans have played in our journeys, displacements, and migrations.

ON OFF

Ramón González Echeverría

The artwork consists of two illuminated screens on which two words made of vinyl have been placed. The screens measure 1.90 x 0.90 meters. Machines, graceless bodies, determine our lives; one could say they govern a large part of our existence. None of the meanings of the word "grace" apply to machines. It seems they possess other qualities, and one that is much discussed lately is intelligence. We can decide, if we have the power to do so, to turn something on or off; but I wonder if we truly do, if it depends on our decision. Traditionally, there has been a fear of machines making decisions autonomously, without consulting us. However, we should be more frightened by the possibility of making decisions like machines. Perhaps we aren't deciding whether to turn something on or off; perhaps everything is simultaneously switched on and off, and we experience this unusual and absurd situation as if under a spell. It's no laughing matter.

Anders als die Andern (Different from the Others)

Richard Oswald

Considered one of the first films in history to openly address homosexuality and the legal persecution of gay men in Germany.

OAXACA INGOBERNABLE (UNGOVERNABLE OAXACA)

Roberto López Flores

The continuity of social struggles is etched not only on the walls of Oaxaca City, but also in the collective imagination and historical memory of its inhabitants. Every crack, every piece of graffiti, is a silent testament to a territory in resistance, an urban palimpsest that is rewritten daily with new demands and old aspirations. Approaches to "Cinema-skin, proto-archive for the future."

Untitled for C, Rising series

Rui Soares Costa André Gonçalves

Imagine a ship suspended above the water, covered in a multitude of mirrors. It appears to float, barely hovering above the surface. This vessel embodies the complexities of our time: an enigmatic space for reflection as we confront the abyss.

Slaughter

Sahand Sarhaddi

"Slaughter" is an experimental short film that delves into archival footage and historical images of the 1979 Iranian Revolution, depicting a symbolic narrative around the ritualistic act of animal sacrifice known as "Besmel." It serves as an allegorical representation of the sacrifice of a nation within the context of political transformations.

MY WORLD

Stein Henningsen

The video shows a seascape deep within a frozen expanse. Flocks of birds fly low over a bluish-gray horizon, like fleeting hieroglyphs traversing the screen. From the right, a man in a suit appears, adrift on an ice floe, furiously hammering the surface with a sledgehammer as snow leaps with each blow. How long will it take for the ice to give way and the man to disappear beneath the waves? Yet the ice floe continues to drift, disappearing from view on the left, only for the figure wielding the sledgehammer to reappear on the right.

Gaze that wants to give form to absence

Stuti Bansal

How does the absence of obsolete machinery and the presence of found films reshape our experience of the moving image? When an archive is not just a record of the past, but a vessel that shapes the contemporary imagination, absence itself becomes material.

A feeling of longing that freezes and thaws

Taylor Alaina Liebenstein Smith

The video installation A Feeling of Longing That Freezes and Thaws is part of a larger project that explores the poetics of permafrost through analog technologies. Permafrost is soil that remains frozen for two or more consecutive years; however, much of it is currently thawing due to climate change caused by human activity. The installation combines 35mm slide projections and 16mm film.

The Land Where Ghosts Could Speak

Tianhui Wu

In The Land Where Ghosts Could Speak, Tianhui Wu explores the tension between memory and forgetting, unearthing forgotten histories through sleeptalking.
Using family archives and her body as tools, she navigates personal and collective trauma, revealing a broader conflict between individual identity and collective confirmation, and the unspoken violence lingers within family and state.

Santa Clara. Nascimento em três fases (Santa Clara. Birth in three phases)

Tono Mejuto Arturo Franco

This is a story about the life of a monastery. The passage of time and the events that have taken place there have left a deep mark on the building and its surroundings. The wounds of the past invite us to reflect on the scars of time.

“It’s too cold for the spirits to live here”

Tosca Schift

On October 16th, 1958, a family fled Indonesia. They spent a month at sea aboard the M.S. Sibajak on a voyage to The Netherlands. When they arrived, it was getting winter. Coming from the tropics, the cold was a shock. The family quickly noticed that the spirits who had always been with them in Indonesia were no longer there - they had left them along the journey.

Everyday War

Yuan Goang-Ming

In Everyday War, Yuan Goang-Ming introduces the threat of violence into the space of everyday life. The work constructs a suspended atmosphere, where the home and common gestures cease to be places of safety and become stages permeated by political and emotional instability.

Consider

Ж

Consider is an analog, imageless film that critiques the distorted portrayal of war in television media, focusing on the contrast between the harsh reality of the Gaza genocide and its televised representation, as observed from afar by the artist in Brazil. Through a series of physical perforations in the film, each puncture allows light to pass through, symbolizing the martyred civilians of Gaza. These points of light resemble distant stars—numerous, yet beyond full human comprehension— conveying both the vastness of the loss and the inadequacy of televised images to capture its true scale. The film challenges the reduction of these lives to mere statistics, urging the viewer to engage with the martyrs as luminous presences, while recognizing that the full reality of this ongoing genocide remains beyond the capacity of visual representation.