Film & Video (Film & Video)

Steak House is a video representing two small puppets smearing the artist’s face with paint while he is sleeping. The work is based on modest means and reuses the classic theme of inanimate objects coming to life during the night while humans sleep. Is this the artist’s return to repressed feelings or fatigue provoked by the task?

Film & Video (Film & Video)

The Théâtre de poche video is inspired by Arthur Lloyd / “Human Card Index”, a magician who was famous for being able to take out of his pockets any image requested by his spectators. His coat hid over 15 000 different prints. In Aurélien Froment’s work, a magician presents images by making them appear, disappear or move in space.

Painting (Painting)

Fairy #2 (2011) depicts a surreal scene of roughly assembled household ephemera, potted plants, and a faintly visible figure rendered in thin red line. The picture shows a grouping of tables and stools arranged in a dense cluster. A collection of objects, all brown or burlap-hued, cover their surfaces: ceramic pots, wooden planks, roughly geometric wooden sculptures, and even a small figure that perches precariously atop of miniature cube alongside a forked wood finish form.

Sculpture (Sculpture)

In Ningwasum , Subash Thebe Limbu explores Adivasi Futurism, a concept he has developed over a number of years, inspired by the writings of Octavia Butler, Afrofuturism, Indigenous Futurism, and various Adivasi, Janajati, feminist, queer, and Dalit movements. The video features an Indigenous, astronaut time traveller from the future, whose Indigenous nation not only co-exists with other nations and allies but also contains advanced technology that would appear magical to those from the present. Filmed mostly in the Himalayas, including the Wasanglung region in Eastern Nepal believed to be the shamanic home of the Yakthung, Ningwasum weaves oral narratives, animations, language, storytelling, soundscapes, and electronic music.

Photography (Photography)

Physical and mental exploration have been founding elements in Joachim Koester’s research for several years. While exploration was mainly a matter of geography during the 19th century, the 20th century brought the mental exploration of our unconscious, triggered by the discovery of psychoanalysis. Koester is interested in documenting minor events, forgotten by History, in order to reintroduce them into collective memory.