Museum Closed is an audio-visual phenomenological interference pattern.

Born in Kansas City, Missouri in 1951 Brice Bowman grew up in California in the San Francisco Bay Area after having moved there at age of 8. His family was so poor he did not start school until the second grade where he learned how to draw, which he did for hours each day. At school he also discovery the library where he read art history books. In the art books he copied the paintings teaching himself how to do them himself. He did not think of Art as “profession”, rather as a tool to explore feelings; how to “visualize” what he was experiencing in a phenomenological sense...

A recently discovered monarch butterfly subespecies (scientifically named "Danaus plexippus eclipsis") possesses strange toxins in its scales that cause powerful sensorial alterations in its predators. Intertwining vivid colors and textures of microscopic footage with the sway of the human body, this is a sci-fi speculation about what would happen to human beings if they came across the Eclipsis butterfly in the midst of our hurting world.

De-indiginezed filmmaker born in México City. Through a poetic, ludic and sensory approach, her work explores questions of territory, nature, legacy and identity that traverse her Brown body and her intimate sphere. Titixe (2018), her first feature documentary in which she holds directing, editing, producing and cinematography credits, has been selected in more than forty international film festivals and collected several awards...

At a butcher shop in Jeromesville, Ohio, four meat processors situate their labor within their own minds and bodies.

Lydia Cornett (she/her/hers) is filmmaker based between Columbus, Ohio and Brooklyn, New York. As a former musician turned filmmaker, she makes work that unites the restraint of observational storytelling with the physicality and connective qualities she associates with music-making. Her work has screened at AFI Fest, BAMCinemaFest, Sheffield Doc Fest, AspenShortsFest, Hamptons International Film Festival, and DOC NYC, where she received a Special Jury Mention for her film Yves & Variation...

I’m not like other girls People say that But for me Its true because I don’t have a body I’m just one element Of the psyche Conjuring Freud's id while watching America's Next Top Model. Black & white 16mm digital transfer hand-processed in Milwaukee, WI. text by Kirsten Schmid, film by Sara Sowell 2021.

THE BIRTH OF THE A KINGDOM is a fairy tale set in a fantastical world. The main character is a girl on the cusp of adolescence. She is tasked with saving an ancient kingdom that is on the verge of disappearing. She dons the clothing of the legendary wolf-warrior, venturing into the forest in search of the lost flower-maiden. THE BIRTH OF A KINGDOM is a hymn to the mystery of fertility. The fertility of the earth, original and inexorable. The fertility of human beings, animalistic and ritualistic. The fertility of the image, which possess the power to make stories bloom and create kingdoms.

Amnion (the innermost membrane enclosing an embryo) is an experimental short film on the essence of waste. Landfills on the fringes of cities function as complex and hidden anthropological archives, revealing everything about our culture, habits, fears and dreams. They brim with outdated fashion, leftovers sealed inside eternal plastic, discarded welfare and abandoned cheap labor...

Saara Ekström works in film, photography, text and installation. Chronotopes where time and place densify, time that nurtures and erodes, the ambivalent desire to both remember and forget are at the core of her art. Ekström’s work has been shown extensively in various museums and festivals in Europe, the Americas and Asia. She received the Finnish media art prize AVEK-award in 2018 and the prizes of SW Finland in 2017, Finnish Art Society in 1995 and the Aboa prize in 1994. She has been the Helsinki Festival Artist in 2005 and was nominated for both Ars Fennica and Carnegie Art Award prizes in 2010.

In the presence of natural elements, in front of their mysterious and changing power, we face earth and water as precious enigmas of vision, able to transcend the visible reality and push elsewhere, between the sublime and the imponderable. Thinking of the archive as a deposit of signs left in space and traced in time. Drawings of time stratified by the destiny of men and other species. Through the selection and re-elaboration of disparate materials present in the Aamod archive, the work explores the concept of absence-presence. Absence itself becomes presence as a compensation (real or imagined) of absence and in this indefiniteness it draws its "altered" perspective. The materialization of sound and image leads to a slow further appearance and display of environments initially concealed, capable of creating semi-dark places of drowsiness that would like to describe incorporeal emotional states. Bewildered melodies draw the contours of an amorphous environment, which is and slowly evolves.

n the strange and rugged landscapes of Lanzarote, Ponç, a 14 year old adolescent, tells his story that oscillates between memories of ancient times and his everyday life. He speaks about the arrival of the dromedaries to the Canary Islands, about how they were taken away from the Sahara by the colonizers to be exploited, and he says he is sure he was one of them. He raps it, he narrates is as a tale, he repeats it continuously. Sahara, Sahara, Sahara. The story mixes up with playstation games, talks about female bodies and desire, reggaeton, junk food, and other peoples acceptation.

LUCIA LALOR (Buenos Aires, 1993) wrote and directed the short films : “Igneous Journal” (2022- shot during the eruption of the volcano in La Palma), “Notes from a Dromedary” (2022) done with the mentorship of Werner Herzog, and "Cambie las Ventanas de mi Casa" (2022- screened at the Pompidou Museum in Paris), “Paulina” (2017) and “Azul” (2019- Bafici)...