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PHOTOGRAPHY

Julieta Tarraubella – Archaeology of Birth

by Julieta Tarraubella

The artist was born in 1991 in Tacna, southern Perú, in the Atacama Desert. Twenty kilometres away lies Miculla, a valley of petroglyphs dating from the 5th to the 15th centuries. A week after her birth, her mother baptised the artist there and offered her life to the universe. The starting point of Archaeology of Birth is the photographic archive of Miculla taken by the artist's mother. These images were used to train an AI that reimagines what travellers saw in the desert and carved into stone. Using different representations mediated by technology, the project takes the form of an installation composed of an audiovisual fiction, vibrating petroglyph-rock sculptures, and an embracing panoramic image of the Andes. Giving agency to the elements of the desert, Archaeology of Birth reconstructs a landscape that is at once historical, inherited, and imagined.

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Clara Stote – My Favorite Place on Earth Was Huntington, Long Island

by Clara Stote

My Favorite Place on Earth Was Huntington, Long Island is a project rooted in personal conflict and questions of identity. From Belgian and American heritage, the artist was born and raised in France. As a child, she idolized her American cousins, but over time diverging values have pulled them apart. Several of her family members align with far-right Christian politics. That estrangement became the central question of this project: had the artist grown up in the United States, would she have become like them? Between nostalgia, fascination, and reality, this project reaches towards something larger. In the current American political landscape, reality and truth have become distorted, and weaponized. My Favorite Place on Earth Was Huntington, Long Island sits inside that unease: What is real? What can you trust when truth has become a commodity?

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Gaia Pierobon – Sara

by Gaia Pierobon

Sara is a photographic project that the artist developed with her cousin. Having grown up together before distance separated them, photography became a way to rebuild their relationship. The work follows a young woman whose world has gradually narrowed to the space of her bedroom, where screens, drawings, songs, and imagined worlds feel safer than the outside world. At its core, the project explores isolation, imagination, disability, and the complexity of navigating adulthood both physically and socially. Approaching photography as a space of care and collaboration, the project became a love letter to Sara, an attempt to show her the beauty, depth, and tenderness the artist sees in her.

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Thomas Martin – To Dream a Night, Gently, Through a Glass, Darkly

by Thomas Martin

To Dream a Night, Gently, Through a Glass, Darkly explores the fear of losing sight, rooted in a personal risk, and utilizes it as a metaphor for a broader loss of clarity, belief, and imagination. Through generative AI images and the appropriation of mass-media AI misinformation imagery, the work takes the form of both a book and a site-specific video installation. The project stages an unstable world where looking no longer guarantees understanding. It considers how neural media, political anxiety and apocalyptic narratives shape what we see, believe and imagine. This project asks whether blindness can become a form of protection, and what it means to keep looking when the future itself appears in collapse, obscured and hallucinatory.

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Elisa Hampe – Through My Hands, Broken into Fingers

by Elisa Hampe

Through My Hands, Broken into Fingers is a photographic series addressing the detachment from reality through screens, from a digitally native perspective. The artist constructed painterly images by capturing objects, bodies, and spaces through photogrammetric scans made with a smartphone, and reassembling them into complex scenes using a 3D software. The resulting images depict exhausted figures suspended in states of waiting and immobility. Through the scanning process, surfaces and textures are transformed: blankets lose their softness and become rigid shells, bodies appear hollow and fragile, and familiar interiors collapse into unstable and claustrophobic environments. Alongside the wall-based images, a sculpture in printed aluminium reintroduces the mediated body back into physical space.

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Zhiyue Liu – Crossing the River by Feeling the Stones

by Zhiyue Liu

Crossing the River by Feeling the Stones originates from a concealed childhood bodily experience and unfolding into an exploration of desire, sexuality, and fantasy shaped by migration. Borrowing from a Chinese metaphor for navigating uncertainty through instinct and touch, the project reflects a state of curiosity, confusion, and searching. Through staged photographs, the artist invites female friends to perform ordinary gestures of daily life: domestic, bodily, and playful actions moving between care, routine, intimacy, and the rituals through which a home is inhabited. Drawing on fantasies and desires repressed within the Chinese cultural context, the images complicate conventional ways of looking at the female body, inhabiting sapphic eroticism, exposure, curiosity, and strangeness.

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Andrey Lopatin – Flies

by Andrey Lopatin

Flies is a short film built around the image of a plane crash. It blends AI-generated domestic environments and hallucinatory landscapes inhabited by puppets with archival footage from NASA's 1984 Controlled Impact Demonstration crash test, following a young dummy boy obsessed with aviation disasters. Its two visual registers work as metaphors for a world saturated with disaster imagery, and a condition in which reality and simulation grow indistinguishable. The puppets appear human and vulnerable, yet they are artificial things manipulated from outside. Moving between pilot, passenger, child, and impossible dream-like viewpoints, the film lets simulation, memory, fantasy, and documentation collapse into one another. The fly drifts across these realities as a fragile, persistent witness.

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Xiao Fu – The Surrogate

by Xiao Fu

The Surrogate is a mixed media project combining video installation and physical imagery. Inspired by the parallels between the controlled reproductive life of the giant panda and Chinese queer experiences of social pressure, these works explore the complexity of identity construction through synthetic images and tactile surfaces. Using a CGI panda as a digital avatar, The Surrogate weaves a narrative that is both absurd and emotional. Bodily materials attempt to physically deconstruct the image of the panda while introducing queer sensations linked to softness, eroticism, and unease that transcend the purely visual experience. Rather than seeking a stable truth about identity, the surrogate body remains in a state of perpetual rendering while maintaining a critical stance.

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Lóa Fenzy – Remy

by Lóa Fenzy

Remy is a hybrid short film that moves between constructed documentary and durational performance, using casting and rehearsal as both methodology and narrative structure. Starting from the question, “What happens if I hire actors to play my father?”, the film follows eight middle-aged men auditioning for the role of my absent father, before three are invited into increasingly intimate rehearsals and staged encounters. What initially resembles a familiar casting process slowly unfolds into a space where masculinity, authority, tenderness, and care are performed between strangers. Through repetition, direction, improvisation, and emotional negotiation, the film gradually exposes its own construction, blurring the line between sincerity and performance.

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Binyu Lin – Still Cruising

by Binyu Lin

Still Cruising restages the scenes that have shaped the artist's desire. These desires are built through the accumulation of a particular queer male imagery: a body that is exposed, trained, and performed. Repeatedly consumed, these images gradually slip into a state of exhaustion. Using staged photography, this project attempts to re-enter this imagery. Through the lens, between aiming and focusing, the desired body is propped up, suspended, or revealed in states of fatigue. As the gaze drifts, attention gradually shifts from the object of desire back toward the self. Through this repeated process of reconstruction and return, Still Cruising seeks to negotiate a space between obsession and the self, a space in which to dwell.

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Mirielle Alina Rohr – Girls Manufactured

by Mirielle Alina Rohr

Girls Manufactured is a series of five ceramic vases, each representing a social media–driven aesthetic identity such as the Tradwife or Femme Fatale. These identities commodify femininity through strict visual and lifestyle codes that often lean towards conservative ideals and pleasing the male gaze. The photographer generated images with AI using datasets that I tied to each identity and integrated her own face to reflect her dual role as viewer and target scrolling through social media. The images I then transferred onto the vases using a technique that merges image and clay. The vases reference femininity through containment and decoration, while their form, based on Panathenaic amphorae, once awarded to male victors in ancient Greece, links ancient symbols of patriarchy to today's curated ideals.

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Jose Martin Martinez – L’Eternité Reste

by Jose Martin Martinez

Briefly after leaving his country, the photographer met his first friends, Serhii and Yelyzaveta, two Ukrainian teenagers, and past lovers, forced to flee together the Russian occupation of Ukraine. Thus, a two year passage begun, with the trials and tribulations that come from love, death, war and solitude. L'Eternité Reste (Eternity Remains) is a documentation, at times abstract, at times literal, often cinematographic, of this story. An unapologetic coming of age story, released from the idealized, fantastic and vulgar narratives showcased in Hollywood and social media. This book functions as an "exchange currency" of sorts against the distorted social apparatus of "reality". Furthermore, the book, pretends to leave an indelible record of this "love story", inextricably linked to a contemporary historical conflict.

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Nabarun Gogoi – The Swan

by Nabarun Gogoi

In this short film, the photographer used a CGI (Computer Generated Imagery) avatar to address and question contemporary notions of masculinity and the complex relationship it shares with love. Inspired by the photographer's own apprehensions related to connecting with other men, the short film uncovers the subtle yet forceful indoctrination of masculine perceptions of power and control. These perceptions clash vehemently with the vulnerability that comes with loving another and the emotions it evokes, thus condemning men to an internal prison of shame and self-betrayal. Created using a gaming engine, the film aims to confront this dilemma and hints at the need to adopt a more nuanced version of masculinity - one where the self is no longer compromised to cater to the insecurities of the many.

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Riccardo Androni – Exhaustion

by Riccardo Androni

Exhaustion is a critical and ironic response to the performance-driven society the photographer inhabits — one that demands constant motion, visibility, and productivity. Through absurd and site-specific gestures in public spaces, he confronts machines of efficiency and elevation with deliberate resistance. The photographer climbs down an escalator, blocks a door with his head, bends to stay in frame. These futile acts follow a strict protocol and expose the tragic emptiness behind endless self-performance. With dry humor and physical endurance, Exhaustion seeks to unmask a system that rewards conformity and erases meaning — until all that remains is exhaustion.

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Visvaldas Morkevicius – Ergot

by Visvaldas Morkevicius

Ergot is a toxic fungus used as a metaphor for digital intoxication. Drawing on psychopolitics, simulacra, and techno-feudalism, this work explores how identity, pleasure, and power are distorted under platform capitalism. It constructs a pixel world of hypermasculine avatars, stylised violence, and dopamine-fuelled objects using AI, CGI, photogrammetry, and glitch. Vapes, crystals, and supplements reflect commodified desire, while dancing police and custom weapons expose gamified violence. Realised as a triptych of three 110×250 cm plexiglass panels, the piece mirrors the seductive toxicity it critiques.

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Daniel Martinez – A River Has No Shore

by Daniel Martinez

Flowing from an Alpine glacier to the Mediterranean Sea, the Rhône River runs through ice caves, forests, cities and industrial sites. It sustains ecosystems, defines geographies and connects cultures across space and time. However, the boundless flux of the world’s waters today faces increasing stories of tragedy and collapse. Climate change doesn’t manifest only on a material level but also overwhelms the emotional dimension of human life. Today, the psychological toll of environmental crisis amplifies states of eco-anxiety and solastalgia, triggered by lived experiences, mediated imagery and narratives of apocalyptic breakdown. A River Has No Shore reflects on the distress caused by climate change and its representation by looking at the water along the Rhône River in its endless forms.

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Eva Manuela Rivas Bao – An Italian Story

by Eva Manuela Rivas Bao

Starting from the trial of former Italian president Berlusconi, An Italian Story examines Italian-Moroccan model and aspiring sports journalist Imane Fadil. Attending the ex-president’s parties, she was a key witness, confessing abuse of power and underage prostitution at his residence in Arcore, near Milan. In 2019, she died at 34, weeks after announcing her upcoming book. Berlusconi reduced the representation of women in Italy to few pixels. The book manipulates "photographic leftovers" and documentary pictures at Imane’s Milan house with AI, aiming to recreate missing images that Fadil shared in court. Deconstructing "an Italian story" - famouspropaganda zine of the ex-president - to reconstruct another Italian story, a collective memory from the rubble of the "Italian failed Me Too" (2010-2023).

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Doyoung Kim – Flattened Roughness

by Doyoung Kim

The work Flattened Roughness explores war image consumption and resulting guilt. The photographer collects and prints images of death then lick and absorb them physically, confronting the emotional and physical distance created by media. Suicide drones’ cameras constantly calculate distance to humans for destruction. In this process, the distance between humans is forgotten. To overcome this distance, he brings the images into my body. This act, where intimacy and brutality coexist, transforms voyeurism into mourning and care, confronting my lost humanity. Through sensory performance, he bridges the gap between himself and mediated death, exploring the clash of dulled emotion and sensation. This confessional, physically exhausting work explores alternative sensory approaches for the recovery of broken humanity.

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Eriko Miyata – Chronicle Void

by Eriko Miyata

Chronicle Void explores how Japanese pop culture portrays women and shapes societal attitudes, especially around normalized sexual harassment. Growing up female in Japan and later moving to Europe revealed to the photographer how deep implicit biases run across cultures. This video installation blends personal memories with public symbols like anti-harassment signs. Using biased AI filters on childhood photos, she reveals how memory and identity are shaped by social bias. Referencing Japan's selfie culture, the photographer experiments with AI and video to critique identity, memory, and cultural influence.

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Min Dai – Rate My Cake

by Min Dai

Rate My Cake is a project about hunger — for sugar, for attention, for love. It is an attempt to stay with that hunger. To let it speak – not in language, but in images. The project is realised with artificial intelligence, although the word ‘realised’ seems too simplistic here. The machine and the photographer coexisted, reflected each other. It was like whispering secrets into a dark well and watching strange, sweet shapes emerge. The cakes in the images are not real. They’re too soft, too glossy, too wrong in just the right way. They’re overlit, undercooked, melting. They seem to wait for something too – approval, attention, maybe love.

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Elisa Azevedo – Daydream

by Elisa Azevedo

Daydream is an intimate exploration of sexuality, embodiment, and the search for connection in a world increasingly shaped by performance and consumption. The photographic series began with an investigation of highly sexualized spaces — environments where the body often appears fragmented, mediated, and as a representation. Present, yet absent, lingering only as a trace of desire. By reenacting some of these gestures herself, the photographer embodies a role and expectation that she cannot naturally fulfill. This performative process reveals the dissonance between imposed ideals and personal reality. Through photography, feelings of loneliness, inadequacy, and vulnerability are confronted — but also curiosity, longing, and the wish for a more sincere relation to her own body and her own sense of intimacy.

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Francesca Bergamini – Pretty in Pink

by Francesca Bergamini

When male desire turns into violence, it often begins with the objectification of the female body. Pretty in Pink reclaims those bodies: low-res thumbnails of 3D nude female models—created by male designers for digital porn, idealized and passive—are altered using the same 3D tools that shaped them. The curves stop seducing. They become hostile, almost threatening. 3D-printed at life-size, these figures stand like anti-monuments, exposing outdated power. Installed as a narrative path, from glossy pink columns to a white-on-white final piece, the viewer moves through stages of desire, distortion, and fear. What was once virtually consumed by the male gaze now returns with physical weight, uncensored presence, and resistance.

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Fabienne Watzke – Lately I’ve been dreaming in pink and blue

by Fabienne Watzke

As a child, people assumed I liked pink and not blue. In today's imagination, pink is feminine, but it was once a masculine color. Lately I've been dreaming in pink and blue shows how our stereotypical thought patterns and visual representations of gender push women into predefined roles and project certain expectations onto them that manifest inequality. In my work, I take these traditional gender norms and challenge and break them by appropriating something extremely masculine like the knight ‘s armor and deconstructing it with different gender symbols and codes. The knights armor symbolizes the patriarchy in which we live. It is a shell designed for a specific type of body. Through symbolic bridges I highlight how deep rooted the modern "knight" mentality is still existing today.

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Amélie Tricaud – Elle rêvait des loups

by Amélie Tricaud

This work illustrates an attraction to the masculine, a deep desire to be embodied in a different body, assumed to be my opposite. This obsession, built through the accumulation of male images, shows what I covet, what I wish to carry within myself, without being able to access it. Throughout the 250 pages of the book, I question my gaze and my notion of beauty by idealizing these bodies, objectifying them, or reducing them to abstraction, attempting to subvert gendered and stereotypical ideals of femininity and masculinity. It is a reflection on the idea of the muse, reversing the power dynamics between the female muse and the male artist, and a mirror on the vast existing corpus representing female figures, on how their bodies are always depicted, scrutinized, fragmented, and contorted.

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Tianyu Wang – Hiding and Seeking

by Tianyu Wang

I focused on the invisible violence and oppression against women within the family environment. I deconstruct the postures women should take in their daily life to resist patriarchal culture. From personal experiences, I reconsider the scenes of family violence, the immediate feelings, the "body memory". I create scenes that blend reality and imagination, symbolically representing the self that is imprisoned, oppressed, and resisting within the family environment. My work responds to the everyday, breaking traditional discipline imposed on women within the family, and deconstructing the facade of daily life. This fundamentally critiques and resists the power dynamics of the traditional binary gender structure represented by "home", as well as the discipline and oppression of individuals.

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Bor Cvetko – TRIBE’S STARLINK HOOKUP RESULTS IN PORN ADDICTION!!!

by Bor Cvetko

The project explores existential dread from passive digital media spectatorship. We’re bombarded with distressing news, funny videos, happy moments, images of death, and posts by friends and celebrities. This endless stream causes disconnection, numbness, and exhaustion. A recurring element in my project is the white plastic chair, symbolising relaxation. These chairs now represent lost support and balance. I include archaeological elements to reflect on the decaying present and uncertain future. Pictures are mounted on metal plates, forming a grid of 24 squares. These industrial products, meant to support weight, now support assembled and torn photo transfers. The project uses the same title as a TMZ article describing the impact of the Internet on an isolated Amazonian tribe.

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Tanguy Morvan – We All Walk On Empty Staircases

by Tanguy Morvan

We All Walk On Empty Staircases reflects the deep scars of the artist's childhood traumas. Growing up in a violent and tormented environment left permanent marks on his mind. At the age of seven, he found refuge in the game World of Warcraft, where he immersed himself for sixteen years, creating an idealized version of himself. In recent years, his grandfather introduced him to the Masonic world, which deepened his fascination with rituals. For the past six months, he has been transforming his body through tattooing, a process that has allowed him to regain control over both his mind and body while staying connected to past memories. His project invites reflection on the impact of domestic violence and the healing power of rituals.

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Isabella Madrid – Buena, Bonita, y Barata

by Isabella Madrid

As a Latin American woman, I have grown up with very specific expectations of the kind of woman I should be. In my project, I am reversing the codes that have been forced onto me and immersing myself in the different symbols of how Colombian women exist and have been represented through photographic self portraits. I am taking these symbols and subverting them, enacting them, letting them hold a weight on me, holding my own weight on them, playing with them, letting them define me and simultaneously redefining their power and meaning. I am showcasing not only the everlasting colonial violence Colombian female bodies have always been subjected to but simultaneously reappropriating the narrative around them, playing the muse, model, photographer, stylist, makeup artist, and art director.

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Florian Hilt – BSoD

by Florian Hilt

BSoD (Blue Screen of Death) is a series of stagnant views of a workstation emerging from the duality between fascination and fear of office spaces. Between boredom and anxiety, the desire for fantasy is transformed into a metaphorical quest for a moment's rest during a noisy, repetitive day. Time rushes by outside and stagnates inside, the mind wandering, piercing the corporate identity. Intrusive thoughts invade the workspace in the event of burnout. Attention is lost in a fantastic monotony. Press the alarm button, break the glass and let your senses drift away before returning to the chore. Silence and noise dissociate, reflecting the paradox of digital work where artist and tool must remain invisible to claim perfection.

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Riccardo Fasana – Cozy Threshold

by Riccardo Fasana

Cozy Threshold is a collection of digital photo collages which takes into exam spaces of transience within the domestic environment. In order to question the gaze which usually inhabits these interior spaces in the course of one’s everyday routine, the images included in the project present visible distortions which reveal the collage technique employed in their creation. As the layered nature of these digital reconstruction of actual spaces gradually unfolds in front of the viewer’s eyes, the gap between what is being observed and what might have been initially recognized becomes clearer. Through this work, viewers are therefore invited to reflect on the space in which these images exist by engaging in a detailed observation of the stage of everyday life.

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Nina Pacherová – We Won't Tell Daddy!

by Nina Pacherová

We Won't Tell Daddy! takes a speculative look at the impact of sharenting - the phenomenon whereby parents excessively share their children's lives on social networks. In the form of a video installation, it explores the future consequences of the digital footprint that parents create for their children. It focuses on the TikTok #bathroomchallenge, where children are recorded cursing, and unaware of the future implications, their video is shared online. The project uses AI and deepfake technology to protect children's identities by replacing their faces with that of the author and highlights the abuse of content. At the same time, it encourages us to redefine the role of technology in our lives by using deepfake as a protective tool.

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Sunny Attias – Rotten Reverie

by Sunny Attias

Rotten Reverie is a series that wrestles with the seemingly random appearance of images and subjects in social media recommended content feeds through the use of personalised algorithms. As someone who often engages with recommended content and finds it both fascinating and sometimes worryingly accurate, I chose to closely analyse the recurring visual patterns and clusters of subjects, forms, and imagery that appear in my recommended content feed. These images serve as testimonies to a certain pattern of content, ephemeral in nature, that once floated in an ocean of visual recommendations. This project attempts to apply a human approach to a machinic logic, specifically addressing a phenomenon that appears to understand some of our thought processes better than we do.

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Aniket Godbole – A Place I Call Home

by Aniket Godbole

Growing up as an immigrant, my notion of “otherness” was profoundly connected with my idea of self – never fully Nigerian in Nigeria or Indian in India. This series explores my understanding of home as a third culture child, collating a narrative of my life that revisits memories of my youth through reimagined constructions of my everyday life. Settling in a new city never felt strange but with time a feeling of uncertainty lingered when I considered what I could actually call home. Featuring layered journal entries and subtracted and multiplied images from my archives, these collages tell a delicate story of a life in transit. I link up with a past that I have never fully experienced. Traditions, thoughts and realities guide a reflection on my childhood and how I experienced growing up in a strange new world that I now call home.

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Benjamin Freedman – Positive Illusions

by Benjamin Freedman

Positive Illusions is a photobook that depicts a series of childhood memories constructed using CGI. The resulting uncanny still lives, imagined from the perspective of a child, evoke a strange family presence in photo-realistic environments. Inspired by the nature of memory and simulation, I have based my scenes on what I could remember and used a phenomenological approach to fill in the blanks. Revisiting the past using CGI technology to re-stage events creates a unique flattening of the past and present – a process of pseudo visual archaeology. Some images in the series are repeated but with slight alterations, revealing the surrealist process of fabricating them and underscoring the phenomenon of distortion that is inherent to memory.

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Fumi Omori – Girl Talk

by Fumi Omori

Girl Talk is an immersive virtual reality installation that explores the concept of multicultural identities and the idea of home. The project presents a curated collection of self-portraits featuring cyber avatars from Japanese, Korean and Korean-American backgrounds. Through my exploration of diversity, I have come to realise that embracing different cultural expressions is not merely a question of adaptation; it is a nuanced and intricate process of discovering the intrinsic values within each culture. With Girl Talk, I aim to share my own experiences and convey the journey of navigating between feelings of confusion and the power of inclusivity, while simultaneously grappling with the challenges of trilingual identities in this interconnected world.

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Luísa Tormenta – Supra-Memento

by Luísa Tormenta

Supra-Memento speculates on the preservation of human life within digital spaces and how bodies can morph into dematerialised reflections, thereby resisting the inevitable decay that faces our tangible realities. The work takes the form of a video installation, creating a meditative environment that physically engages the viewers. Using photogrammetry scans, I have preserved my body and those of loved ones, immortalising the ephemerality of human memories and relationships into a liminal space. Steeped in Vanitas symbolism, the sacredness of these bodies intertwines with the insignificance of decaying organic matter. While this photo-technique conveys an illusion of volume, it also exposes the fragmentation of the data, revealing how these too are temporal shells, vulnerable to disintegration.

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Mattia Dagani Rio – METAMORPHOSIS

by Mattia Dagani Rio

METAMORPHOSIS is a photobook that delves into the complex tapestry of bodybuilding, examining its inherent interplay with torture, hedonism and eroticism. Bodybuilders subject themselves to gruelling training regimens, pushing their bodies to the absolute limits in the pursuit of self-expression. Using a combination of CGI with traditional methods of photography, this project explores moments of agony, highlighting the struggle and dedication required to reshape the body into an extraordinary form. However, it also shows how this practice is a deeply personal journey of self-discovery and self-acceptance which consists of introspective moments, vulnerability and a profound intimacy with themselves, where viewers witness a process of transformation that extends far beyond the physical body.

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Moritz Jekat – Wetlands of Pharmacology

by Moritz Jekat

Exterior virtual organs that enter our bodies and transform our brains surround us. These pharmaca multiply in wetlands between online and real life. In a desire for healing and reconnecting, a group of humanoid aliens inhabit this space and come together in a caring pile of thoughts, emotions and dreams. They share with you, thanks to subconscious writing and wetland tools. A waterbed in space invites you to relax. In the concept of adoption of pharmacology, in contrast to adaptation to the super-fast, consumption-based virtual spheres that are transforming social habits, Wetlands of Pharmacology experiments with a slow coming together and exchange of emotional and physical knowledge of five artists in a computer game engine.

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Amandine Kuhlmann – Cash Me Online

by Amandine Kuhlmann

Cash Me Online is a video project where I stage myself, combining performance with found footage. With the goal of achieving viral fame, I embrace delusion and despair in this exploration, which delves into the impact of cameras in the era of social media. Through a hyper-feminine digital alter ego based on my own algorithm, I perform in virtual and physical realms, fulfilling desires and aspirations. The project questions self-representation and the female gaze in the presence of empowered women on screen. The project examines tensions between toxic feminine tropes and how women reclaim them for empowerment. Found footage combined with a deepfake of my own face serves as a visual album, revealing content diversity and standardisation, introducing ambiguity in notions of dysmorphia.

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Mykolas Valantinas – Lullaby’s Fault

by Mykolas Valantinas

Lullaby’s Fault is a surreal docufictional short film that tells the story of twin brothers with wild and ferocious imaginations, the consequences of which lead them towards violence and ultimately, tragedy. Alternating between first person POV and a more stylised third person perspective, the film has a destabilising effect where the supposed validity of one comes into conflict with the surreal nature of the other. The narrative follows a metamorphic fairy-tale template where the protagonists undergo internal and/or external transformations. The naive, overwhelming nature of fantasy as a dangerous and explosive energy is expressed through two complementary perspectives: the eyes of a child and his older, lunatic self.

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Gabriela Marciniak – Early Retirement

by Gabriela Marciniak

“When you’re young and slow down, you’re lazy, but when you’re retired and you slow down, you’re happy to slow down”. As soon as we enter the word of adulthood, we realise that our everyday lives revolve around completing one task after another, checking off items from our to-do lists. Days pass in this manner, with the constant pressure of doing and working more. Driven by research, the artist explored early retirement in health resorts, places where we can relinquish control and devote our time to treatment, healing, pleasure and the process itself. There is no rush, no time. Video performance as a form of expression juxtaposes the body with architecture, creating a retirement wonderland. A one-channel movie, video performance, 4k, 16:9 frame

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Yuji Wang – 1.0.0.1 Days

by Yuji Wang

1.0.0.1 Days is a CG animation that revolves around the realm of data manipulation, delving into the inexorable rise of artificial intelligence in the era of big data. The video aims to speculate on the consequences of humanity’s increasing reliance on and trust in artificial intelligence, pondering the possibility of data manipulation and subsequent transformation into mere marionettes of information and electronic captives. From reality to virtual reality, is it possible to establish data as a new form of religion? As the narrative unfolds, a cyborg butterfly draws nearer to the humans confined to a glasshouse, with its tenderness, its curiosity, its ambition…

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Gina Bolle – Instanz

by Gina Bolle

Instanz is an interactive installation consisting of a steel cell with a five-channel video, three infrared cameras and two surveillance cameras. Within a dark and insulated space, viewers are confronted with live feeds, humiliating or disturbing found footage and sound. Reflecting on Foucault’s “apparatus” theory, Instanz refers to a system that exerts power and control over society. It indicates how a camera can serve as a tool to harm its subjects. Similar to the panopticon, viewers have no control over whether they are being observed. By linking live streams with found footage, the work exposes the possibility of exploitation in the realm of photography and demonstrates the inherent power imbalances in visual consumption through a deprived experience.

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Yumo Wu – The Room and the Photographs

by Yumo Wu

The Room and the Photographs investigates the intertwined relationship between perception, space and photography. Initially, observers were placed inside a room to witness the raw essence of photography in the camera obscura. The digital evolution has reshaped the ontology of the medium and provided an entirely metamorphosed experience – observing photography with a detachment from reality. As in painting, I assemble a meticulous collection of physical photographs and computer-generated imagery. These domestic spaces lose their inherent perspective. They are familiar yet strange, fractured yet imbalanced. My photographic constructions, part memories, part materiality, attempt to reveal the complexity of perception in the realm of photography.

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Carla Rossi – Bellissima

by Carla Rossi

Bellissima follows the story of Rebecca, whom the photographer met on the stages of a popular Italian beauty pageant. ‘‘I was looking for a young girl who wasn’t necessarily a professional model, but who hoped to become one”. The project reflects on the photographic medium as a dream factory. The photographer shifts perspectives to highlight the construction of images and the model. The symbiosis between model, photographer and viewer reveals how images influence the dreams and aspirations of young girls. The work aims to criticise photography as a stage for the representation of beauty and to challenge the idea of the latter as a cult achieved through the attention of the camera. Would beauty still have meaning if no one could look at it?

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Augustin Lignier – Container

by Augustin Lignier

Container is a project about alienation. From the camera, the machine, space, images, the medium, and from an idea. Through the medium of photography and performance, I build rules to experience the relationship with the apparatus. By seeking to push my body to the limits, I experiment on the camera and the body like a black box in a white cube. The rules are inputs and the images the output. Attempting to understand the reaction of a repetitive action on the videos. Focusing on the obsession of pressing the shutter button on the images. Using this action as a solution. To see the pictures, the viewer has to perform the same action as the performer. The experiments give the power to the machine. Producing images, performing, recording and exhibiting are one thing.

PHOTOGRAPHY

Hikaru Hori – Slowpoke

by Hikaru Hori

Slowpoke is a series of sculptural collages. Taken from my surroundings, the images of everyday objects are accumulated and layered to transform multi-sensory experiences. For the series, I worked in particular on the idea of a “combination of physical and digital perceptions” for the upcoming degree presentation. In response to this contemporary setting where the representation and the represented simultaneously affect our cognition, Slowpoke invites viewers to experience the hidden construction of image-making through sculptural collages.

PHOTOGRAPHY

Sophie Schreurs – Fed Underbelly of Silicon Valley

by Sophie Schreurs

Fed Underbelly of Silicon Valley is an immersive installation that makes the hidden social and political tensions of social media platforms physical and tangible. The power of social media platforms is not only apparent because they possess the archive of our culture, but mostly because they decide on the visibility of content. While seemingly democratic, it is clear that nowadays some voices are amplified while others are silenced by content moderation. I draw a parallel between the mechanisms behind social media platforms and the workings of the human body. I imagine the body as a carrier of memories and emotions that seep through and cling to the walls of our insides. Just like our organs filter and circulate – so do the platforms.

PHOTOGRAPHY

Alisa Strub – My Grind Bears Fruit

by Alisa Strub

My Grind Bears Fruit is an installation of projected self-portraits combined with manually painted text which chart territory in my engagement with identity, self-revelation and contemporary media culture. It explores the tension between public and private life, the need to talk about ourselves and our thoughts while creating a blurry line between intimate documentation and a constructed point of view. The seemingly still but slightly moving images are situations where I perform for the camera, influenced by the perception of what I consume online daily. They combine and collide with an intuitive, free, yet deliberately scripted use of words culled from net culture and create a rhythmic counterpoint that challenges viewers to confront their own experiential thresholds.

PHOTOGRAPHY

Emma Bedos – Linger

by Emma Bedos

How can we continue to exist in the places we have left, through the memories of those who remain? In this project, I wanted to grasp the feeling of distance and the way technology tries to compensate for it. I asked my relatives on my home island to capture images of shared memories. Transcribed in photogrammetry to materialise them, the combination of communication and memory work creates a new shared environment. The result highlights the omnipresence of the void. The installation materialises this remote contact, as the negative of itself, via cuts in fluttering and elusive silk. The imagination completes the memory and projects fantasised images of a distant ideal, where presence/absence resonates and lingers.

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Julieta Tarraubella – Archaeology of Birth

Clara Stote – My Favorite Place on Earth Was Huntington, Long Island

Gaia Pierobon – Sara

Thomas Martin – To Dream a Night, Gently, Through a Glass, Darkly

Elisa Hampe – Through My Hands, Broken into Fingers

Zhiyue Liu – Crossing the River by Feeling the Stones

Andrey Lopatin – Flies

Xiao Fu – The Surrogate

Lóa Fenzy – Remy

Binyu Lin – Still Cruising

Mirielle Alina Rohr – Girls Manufactured

Jose Martin Martinez – L’Eternité Reste

Nabarun Gogoi – The Swan

Riccardo Androni – Exhaustion

Visvaldas Morkevicius – Ergot

Daniel Martinez – A River Has No Shore

Eva Manuela Rivas Bao – An Italian Story

Doyoung Kim – Flattened Roughness

Eriko Miyata – Chronicle Void

Min Dai – Rate My Cake

Elisa Azevedo – Daydream

Francesca Bergamini – Pretty in Pink

Fabienne Watzke – Lately I’ve been dreaming in pink and blue

Amélie Tricaud – Elle rêvait des loups

Tianyu Wang – Hiding and Seeking

Bor Cvetko – TRIBE’S STARLINK HOOKUP RESULTS IN PORN ADDICTION!!!

Tanguy Morvan – We All Walk On Empty Staircases

Isabella Madrid – Buena, Bonita, y Barata

Florian Hilt – BSoD

Riccardo Fasana – Cozy Threshold

Nina Pacherová – We Won't Tell Daddy!

Sunny Attias – Rotten Reverie

Aniket Godbole – A Place I Call Home

Benjamin Freedman – Positive Illusions

Fumi Omori – Girl Talk

Luísa Tormenta – Supra-Memento

Mattia Dagani Rio – METAMORPHOSIS

Moritz Jekat – Wetlands of Pharmacology

Amandine Kuhlmann – Cash Me Online

Mykolas Valantinas – Lullaby’s Fault

Gabriela Marciniak – Early Retirement

Yuji Wang – 1.0.0.1 Days

Gina Bolle – Instanz

Yumo Wu – The Room and the Photographs

Carla Rossi – Bellissima

Augustin Lignier – Container

Hikaru Hori – Slowpoke

Sophie Schreurs – Fed Underbelly of Silicon Valley

Alisa Strub – My Grind Bears Fruit

Emma Bedos – Linger