03.03.2023 - 19.03.2023

Phoenix Atala | Lara and Noa Castro | TJ Cuthand | Tobias Dirty | Nuria Güell | Monica Heller |Valentina Parati | Roman Selim Khereddine | Leevi Toija

Friday, 3rd of March 2023, 6 - 10 PM.

Opening hours:
Wednesday 5 - 8 PM. & Sunday 2 - 5 PM.

TJ Cuthand.


HD video, color, sound.
13:10 min.

“Reclamation” is a documentary-style imagining of a post-dystopian future in Canada after massive climate change, wars, pollution, and the after-effects of the large-scale colonial project which has now destroyed the land. When Indigenous people are left behind after a massive exodus by primarily privileged white settlers who have moved to Mars, the original inhabitants of the land cope by trying to restore and rehabilitate the beautiful planet they belong to.

Leevi Toija.

“On Illumination and Disposition”

4k-video, color, sound.
9:36 min.
Soundscape: Paavo Piekkari.
Voiceover: Alma Djelic.

Leevi Toija’s video work, “On Illumination and Disposition”, explores the contradictory notions of light and darkness. The video is a representation of a light fixture, but at the same time, it itself functions as a lamp in the exhibition space. The flickering light on the screen is ever-changing, but the setting of the video itself is static and stable. In the harmonious soundscape created by Paavo Piekkari (APEAK) one can hear the voice of an invisible and authoritarian narrator softly reciting speculative statements regarding darkness and light. Yet, these statements cannot be universal. The work reflects on delving at the boundaries of light and darkness. Is it possible to detach oneself from the dispositions of illumination?

Phoenix Atala

"Critical Failure"

"Scene 0 directors’ intro"
HD video, color, sound.
3:27 min.

"Scenes 2 et 10 Ekko’s intro"
HD video, color, sound.
1:43 min.

"Scenes 24 & 28 experimental shoot and rehearsal"
HD video, color, sound.
3:59 min.

"Scene 18 the directors meet Tanger"
HD video, color, sound.
3:37 min.

Critical Failure is at once an anticipation film, an unfinished scenario on the representation of queer racialized communities, an editing process, an attempt to invent a new method of making cinema, a series of ethical, aesthetic and practical questions, a sum of obstacles and revelations, a narrative that describes the sensation of discovering oneself different and that this discovery is liberating.

Initially a Sci-Fi film, it has fermented, multiplied, developed, expanded like water kefir. It is now a film-conversation, a film-pretext for a multi-generational discussion about our image autonomy, as a queer racialized community; a pretext for the possibility of gathering, to talk, to organize; a pretext for thinking about how we storytell ourselves, why we storytell ourselves and to whom we storytell ourselves.

Critical Failure is a symphony, a choral project, in which each member is attuned, not to the tuning fork of a skillset but to the one of similar situation, forming a disharmony of talents and a harmony of concerns.

Lara and Noa Castro

“Dous Faros (Insua e Roncudo)” [“Two Lighthouses (Insua e Roncudo)”].

HD video, color, sound.
6:20 min.

“Copla Pequena” [“Little Copla”].

HD video, color, sound.
35 seconds.

-“Dous faros (Insua e Roncudo)” and “Copla pequena” are part of our ongoing project series “Sempre se encontra consolo” (“Comfort can always be found”) composed by songs, tales and prophecies.

For these particular pieces we work with the traditional form of song called ‘coplas’ and its metrics, which has been used for generations as a popular form of poetic creation, but also as a way of telling jokes, recording intra-history, complaining about quotidian injusticies, personal matters, giving advice, or just to say hi to somebody passing by.

Thus, in "Copla pequena” we create our own copla based on the ones our grandfather and great-grandfather used to compose and improvise and which is danced by two almost identical characters that work as our alter egos. “Dous faros (Insua e Roncudo)” reflects on the etymology of the word “copla” and the ideas it conveys of togetherness, encounters, or unions, but also about poetic associations and emergencies of memory and dreams in very simple quotidian things.-

Núria Güell.

“De putas. Un ensayo sobre la masculinidad” (“Off whoring. An essay on masculinity”).

HD video, color, sound.

58 Min.

“The device Güell uses in “De Putas. Un ensayo sobre la masculinidad”, is mainly the filmed interview, which is quite deceptive from the point of view of visual satisfaction. The deceptive effect is even more broadly reinforced in all of her recent work, or improved, I’d be tempted to say, by a palette of visual tools that visibly undo the obviousness of the visible. For example, De Putas, which runs for about an hour, both violently and comically features only cut-off heads, that is, we only see bodies—the heads are cut-off by the frame—which has the strange effect of making the heads exist solely through the voices issuing from them, thus creating a surprising intimacy of sound with these women, who are singled out for viewers in a much different way than if we could see them. More than a feminist argument of distancing the female image that is fetishized by male desire (it seems in any case that a headless body loses a lot of its erotic power…), I see it as a way of rendering audible what would otherwise have no, or very little value if we could see these women, identify them by their faces, and thus bring them back to their image. This device potentiates the materiality of the voice—its grain, rhythm, and tonalities—and renders accessible what is normally made invisible." [...]
Fragment from a text by Sophie Mendelsohn.

Roman Selim Khereddine & Modulaw


HD Video, color, sound (binaural).
22:08 min.

'Do you know what a hecatomb is?' I associated that word with nuclear warfare, so I thought it better not to reply. But he kept asking. 'A disaster', I said, 'a catastrophe?' 'No, a hecatomb is the sacrifice of a hundred oxen all at once. It comes from the Greek hekaton, which means one hundred, and bous, which means ox. There are even records from classical times of five hundred oxen being slain. Can you imagine that?'
'Yes, I can imagine anything.'

- Roberto Bolaños, Amuleto, 1999.

Mónica Heller.

"El Gato Sangrante y El Corazón Barbudo".

2D animation video, color, sound.
6:03 min.

“El Gato Sangrante” (“The Bleeding Cat”) is a character who is constantly mismatched to the professional responsibilities and demands of the environment. Between his feline instincts and the demands imposed on him, he has to abandon his own nature and his passionate way of conceiving the world while he encounters hostile and strange situations that are at the same time tender and distressing and that undermine his animality.
El Gato Sangrante seeks work, occupation or insertion in a given environment and his stories are related to this always messed up relationship between power relations and vulnerability.
"El Gato Sangrante y El Corazón Barbudo" ("The Bleeding Cat And The Bearded Heart") is an animated series made with a gestural and rough animation technique, formed by "poor" drawings in movement and a narration that could be weak. The stories narrate own, or close, experiences that are intensified until they become fantastic but relatable, touching and dark fables.

Valentina Parati.


HD video, color, sound.
17:33 min.

The airport is a transitional space, where there are no social relations and nothing memorable happens, but it is a personal place characterized by a moment we have with ourselves to wait. But there are also other areas: people are used to wait outside in a ‘’non-places’’ which is point close to the airport where they can observe and contemplate the planes at close quarters: the SPOTTER AREAS. Almost as if we were outside a club/rave, four characters contemplate the distant sound of the airport (a club to go to or return from). As the nuances are those of a dating place, a place to go to after a rave or a place of contemplation. Finally, leaving the spectator enveloped in sound.

Tobias Dirty

“Siempre estoy dado vuelta” ("I'm always turned upside down").

2D animation video, color, sound.
Music by Vic Bang y YOTO.
07:30 min.

-"Siempre estoy dado vuelta" ("I'm always turned upside down") is an animated video made from objects and paintings inspired by the kitchen of my house in Villa Gesell (Argentina). The work has a text written and recited by me in which I reflect on "the house" a type of structure that in recent years I perceive differently.

If dreams are the unconscious side of our mind, then the house is the unconscious side of our body; under this strange premise sprout domestic sounds that form experimental rhythms that help describe the parts that make up the home and its relationship with our body.-