Nasenrücken

Video art screening

Audrian Cassanelli is a visual artist and professor from Brazil, holding a master’s degree in Art and Technology from UFSM. His work Existências Daninhas (Weedy Existences) explores the human body as a metaphor for resistance, drawing parallels with the persistence of weeds. Through photographs of invasive plants collected from farmlands and their projection onto his own body, the piece honors marginalized existences — LGBTQIAP+ communities, peripheral artists, and all bodies that continue to emerge in hostile terrain. It is a visual manifesto against monoculture, where each projection becomes a symbol of resilience, turning perceived flaws into sources of strength.

Jim and Heinz are two friends living in Vienna. Heinz is Viennese, Jim is English, so their conversations take place in English. In The Electric Bull Riding Contest, Jim lures Heinz to a snowy wasteland just outside Vienna under the pretense of entering an electric bull riding competition. Heinz is thrilled — he believes this is his long-awaited chance to finally face off against his arch-nemesis, the legendary matador “The Kid” Jiminez. But things, as ever, do not go according to plan.

Cassandra Paige is a multidisciplinary artist based in Edmonton, Alberta. Her practice spans filmmaking, acting, collage art, and writing. Her short experimental film explores what it means to live within the constraints of a body and confront its impermanence. The film delves into the experience of feeling disconnected from the physical form one inhabits. It questions the cycles of life—where we come from and where we go. It also addresses the idea of a "god-shaped hole" from a non-religious perspective, asking what empty spaces exist within ourselves and how they shape the lives we lead.

Delphine Richer is a French artist working across various media, including video, performance/action art, installation, photography, drawing, and sound. Her work evokes a hypnopompic dream — that state of incomplete awakening following sleep. In this piece, the sound of peaceful breathing merges with the ambient sounds of the village, as the camera slowly observes a Chinese street scene. The residents go about their daily routines until the arrival of a young woman disrupts the atmosphere. The scene then shifts into a hazy, uncanny dimension. Finally, the frame widens to reveal the enigmatic setting of the village in its entirety.

Francesca Longo is a visual artist and researcher based in Milan. Her video work juxtaposes the glamour of classic cinema with the raw urban landscapes of Milan’s suburbs, blending nostalgia with contemporary decay. It reflects the remnants of a vanished world, allowing fragments of the past to surface within the present. Through a surreal montage, the piece evokes a sense of loss and displacement — the defining atmosphere of melancholic, liminal spaces.

Konstantin Pütz is a visual artist from the Ruhr region. This film, shot last winter in Kyiv, explores the tension between metaphorical spaces and their possible counterparts in the real world. Loosely structured around fragmented narration, it shifts between concrete situations and philosophical reflections on love, death, and the supernatural. Juxtaposed with eerie landscapes and sounds that feel both otherworldly and strangely familiar, the film leaves the viewer suspended on the periphery — between worlds, between states of being.

Maria Plucińska graduated from the Academy of Art in Szczecin, where she specialized in experimental film. In her work, she initiates a dialogue with the iconic video Semiotics of the Kitchen by American artist Martha Rosler, which addresses women’s labor and its visibility. Plucińska positions herself within the same spatial setting used by Rosler in her performance. Drawing on the legacy of “art appropriation,” she chooses not to create a completely new work but instead to revisit and rearticulate the question posed by Rosler nearly half a century ago, deliberately emphasizing its ongoing relevance. In the video, Plucińska gradually erases her own figure, ultimately disappearing entirely into the kitchen space. Through this gesture, she highlights the persistent problem of women’s domestic labor as viewed from economic and political perspectives.

Hotel room, train station, airport, underpass, metro, elevator. Cities are filled with transitory spaces that we pass without paying attention, mindlessly. The anthropologist Marc Auge defined them as non-places - spaces which man has no emotional connection to, which are never anyone’s final destination. They create the
landscape of a city created by man, yet simultaneously completely alien to him, hostile, estranged. This film is a journey in search of a place, the anthropological one and the more metaphorical, personal one. Like non-places it is suspended in time and space. It hangs somewhere on the periphery. After all, the loneliness of a big city always happens among hundreds of people.

Patrik Qvist is a video artist, painter, and creator of installations and performances from Sweden. Attempt at Going to Work was created in 2013 during a residency in Vaasa, Ostrobothnia, Finland. The overlapping themes of this piece remain relevant to the artist today: reflections on work and its practical implications; considerations of constructed landscapes and the nature/culture dichotomy on the one hand, and an exploration of absurd action on the other.

Till Boedeker is a video artist from North Rhine-Westphalia, Germany. His work explores the boundaries between simulation and reality through the lens of machine learning technology. It begins in an AI training environment, where virtual robot dogs learn basic movements, and then transitions into a photorealistic simulation of the Düsseldorf Art Academy campus, meticulously reconstructed from drone scans. In this dystopian wasteland, robot dogs roam autonomously while AI-generated soul music plays and fires burn in the background, creating an unsettling, almost surreal atmosphere. The piece reflects on how machines learn and develop agency in virtual spaces before entering the physical world, prompting questions about perception, autonomy, and control. The work concludes with an indie pop/rock music video sequence that rapidly rewinds, leaving viewers with a lingering sense of disorientation and ambiguity.