Alexis Guillier
Purgatoire (Cinema that Kills)
The film’s script, characteristic of cinema supporting the Palestinian resistance at the time, deals with a group of Fedayeen and in particular with one of its members who was captured by the Israeli army. He reveals the location of his comrades under torture. A final scene was meant to show their revenge: a bombing at →
Luciana Decker Orozco
What Humans See as Blood, Jaguars See as Chicha
Titled What Humans See as Blood, Jaguars See as Chicha, the work investigates storytelling about deities, sacred objects, and spaces in the Andes. It seeks to highlight remembrances and customs of relating to nature, space, and the unusual geological formations in Kalaque, in the artist’s native Bolivia, which owes its name to the rocky mountains →
Peny Chan
鳳殞 (Sorrow of the Phoenix)
Polyglot Malaysian singer and performer Peny Chan seeks to highlight the cultural traditions as well as the transformations within the Peking opera’s style of singing. Her project aims to deconstruct the opera’s original structure and reconstruct it into a new experimental genre of singing. Working together with musician and vocalist Rully Shabara on producing the →
Tom Cassani
Expanded Magic
At the Forecast Forum in Berlin, Cassani, who also performs under the moniker Strange Boy, presented a series that highlighted the performing body as an unreliable measure of truth. Cassani was selected by choreographer Florentina Holziger to continue to develop his proposal to completion within the framework of Forecast. Drawing on an expanded approach to →
Hamza Baig
The Marblous Four
Set in the imaginary village of “Geetapur” (inspired by Chakwal, Pakistan) the plot centers on the local children, who possess a set of magical marbles that have the power to sustain life in the village. The story follows Guddo, whose attempt to help her peers through the use of her unique marbles repeatedly ends in →
