Alexi Scheiber (Baltimore, Maryland), The Dreaming World, 2025

An animated solarpunk world overtakes mundane suburbs in a series of vignettes across this short film.

BIO: Alexi Scheiber is an independent animator who has worked with clients such as INSERIES opera house & Alexandria Symphony Orchestra. She has curated exhibits at Crow’s Nest Baltimore, and curated the Sweaty Eyeballs Gallery Show. In Spring of 2025 she graduated from University of Maryland Baltimore County’s Intermedia and Digital Arts (IMDA) MFA program with the honor of the RTKL fellowship. Her MFA thesis work, Awake/Dreaming, grapples with climate emotions and imagines environmental solutions.

Guadalupe Arellanes(Los Angeles, CA), Repertoire of Death, 2025

A lucid dream leads to a dance with Death.

BIO: Guadalupe Arellanes is a community-taught artist from Los Angeles, CA interested in surrealism, magical realism, and expressionism. She is inspired by her dreams, nightmares, and other hauntings.

She holds a PhD in Ethnic Studies from the University of California Riverside where she worked with (im)migrant communities on issues of ecology and hauntings.

Kameo Chambers (Philadelphia, PA), Alien IRL, 2024

Set in Chroma Key Kingdom, a Black Femme avatar exists in a digital world designed for her aesthetic, but not her autonomy. What happens when a digital avatar becomes sentient—when it realizes it was never meant to be free?

BIO: Kameo Chambers (Philadelphia, PA) is a Jamaican American conceptual artist who reimagines cultural memory and perception through digital and physical assemblages. She creates surreal, hyper-realized landscapes that interrogate autonomy, material culture, and the aesthetics of Black Femme embodiment in her archive-based practice.

Chambers work has been exhibited at Kungliga Musikhögskolan (Sweden), Cité Internationale des Arts (France), BRIC TV (NYC), The Institute of Electronic Arts (NY), Vox Populi (PA), and the University of Pittsburgh (PA), among others.

Sampsa Pirtola (Helsinki, Finland and Hudson, New York), Hearing Colors, 2023

​​A story of a person with synesthesia who is bullied and becomes a social outcast for seeing something that others cannot. The person tries to suppress the innate quality that makes them different from others. One day, they meet another person with synesthesia who is living their life bravely and freely. Inspired, our main character joins with the other person, igniting into music and color. Through the "exceptional liberation" of the couple, the world around them begins to experience color and music, too. The sparse experimental video goes from black and white to jubilant color.

BIO: Sampsa Pirtola is a Finnish experimental video and multimedia artist currently based in Upstate New York as part of a multi-year residency at Lightforms Art Center. Sampsa received a MFA from Uniarts Helsinki: The Academy of Fine Arts and works with fictive documentary, video collage and abstract video art.

Dora Siafla (Greece), Hidden in the Bloom, 2025

By placing a suppressed queer code inside a game-like digital system, the work examines what happens when alternative forms of intimacy encounter technological structures built on control and accumulation. Rather than presenting a solution, it exposes a future in which even gestures of care and desire become traceable, unstable, and at risk of being silenced. The work is structured around a simple interaction: characters exchange violets to express flirtation, a gesture drawn from a discreet practice used among women in the early 20th century.

BIO: Dora Siafla is an interdisciplinary artist working across data-driven forms, AI systems, video, and user interaction. She holds an MA in Audiovisual Arts (Ionian University), following studies in Visual and Applied Arts (University of Western Macedonia), and has a computational background through Harvard’s CS50 and MITx, alongside SFPC community ties. Her practice has been presented internationally at venues including Ars Electronica, Onassis ONX × British Council, Boston Cyberarts, NYC Resistor, and the Athens Digital Arts Festival, and she is a recipient of the MIT Reality Hack Art Grant.

Sarah Sarah Turner Turner (Santa Fe, NM), But...You're A Dolphin!, 2024

Can interspecies communication give us enlightenment to mysteries yet unseen? Dolphins have been known to be one of the most intelligent creatures on the planet. What do they know that we don't? In this short film, a dolphin tells Sarah a secret of the universe. Inspired by the research of John C. Lilly. Written, created, and starring Sarah Turner, 2024.

BIO: Sarah Turner is a new media and video artist who creates large scale immersive environments and performances through analog media and creative coding. She engages in ritual and contemporary mythologies to augment reality through performative psycho spiritual activations and explorations of the absurd. Her work has been shown at Ann Arbor Film Festival, Meow Wolf, Portland Art Museum, Wieden + Kennedy, Portland Institute for Contemporary Art’s TBA Festival, Athens Digital Arts Festival, Northwest Film Center, Spaceness Festival, Marfa Open Festival, Laboratory Residency and more. 

Meshal Al-Obaidallah (Riyadh, Saudi Arabia), IMG_0220: Physical Preservations of a Once-Lost Internet Video, 2026

The film is about the art installation “IMG_0220: Physical Preservations of a Once-Lost Internet Video.”

The narrator tells the journey of recovering an archived Twitter video—circa 2016. Filmed with a handheld camcorder, the one-take POV guides you to experience the “IMG_0220” library. The layered narration considers the fragility and ambiguity of the video and its meaning as it reenters public discourse. It shows how a forgotten media artifact carries cultural memory.

As part of a larger project, it underscores the participatory nature of archiving—inviting you to preserve “IMG_0220.”

BIO: Meshal Al-Obaidallah is an artist, curator, and filmmaker. He experiments with archiving narratives to face ‘collective amnesia’ in society. Using cultural artifacts (whether physical or digital), he actively investigates the internet and social media. His practice centers around the question: Before it is forgotten, how can our ever-changing present-day culture be preserved?

His project “IMG_0220: Physical Preservations of a Once-Lost Internet Video” (2023–ongoing) was selected for BIENALSUR, the International Biennial of Contemporary Art of the South. It received support from the New Media Caucus (NMC).

Paolo Glen (United kingdom), Hoofstock, 2025

Ghostly creatures traipse around a furniture outlet; a Nile lechwe reminisces about fish in garden centres. Hoofstock uses found online media to explore themes of isolation and materialism. Sourcing its visual elements from the world of unviewed YouTube videos, its characters similarly inhabit a landscape populated by oddity—vast, open, yet profoundly empty. Small enclosures, too much time to think. Still—there’s nothing a little shopping won’t fix.

BIO: Paolo Glen is a moving-image artist who combines the collection of digital ephemera with experimental animation. Based in the South West of England, his interests include moving things, shiny objects, and other people’s stuff.

Wu Siou Ming (Taiwan), Infinity Evolving World - V1, 2025

Driven by progress, capitalism reshapes cities via urban renewal. This piece starts with a photo of a demolished market, now a site of high-rises. Using custom AI, the project initiates a recursive process with reality as the theme where each output becomes the next input, simulating an "evolving" landscape. The imagery mutates from an empty lot into a surreal cityscape where buildings expand uncontrollably—a reflection of "capitalist anxiety" pushing development toward the absurd. This dual-channel installation pairs these visuals with site-specific audio that gradually drifts into dissonance

BIO: Kaohsiung-based sound artist Wu Siou Ming creates multi-disciplinary works spanning digital video, installation, and electronic music. His site-specific projects explore phenomenology and human perception while addressing urban social issues like economic injustice and environmental sustainability.

A recipient of the Luxembourg Art Prize, Arte Laguna Prize, and Kaohsiung Awards, he also won the "Made in Taiwan" New Artists Award. His work has been featured at Ars Electronica, Siggraph Asia, Athens Digital Arts Festival, Athens Biennale, MADATAC (Spain), and the Sonorities Festival (UK).

David Anthony Sant (Australia), for it will be no more, 2025

Monuments to British explorers, colonial figures, and royalty appear within shifting triangular shards, superimposed over images of Australia’s Botany Bay.

On 29 April 1770, British naval lieutenant James Cook and his crew landed at Kurnell, on the southern shores of Botany Bay, as they charted the east coast of Australia aboard the HMS Endeavour. Their arrival was met with resistance from two Aboriginal men of the Gweagal clan, part of the Dharawal people. Cook later claimed the east coast of Australia for Britain under the doctrine of terra nullius—'land belonging to no one.'

BIO: Born in Sydney, Australia. David Anthony Sant is an educator and maker of artist films who attempts to explore the visual language of the moving image with every film he creates. A subject that re-occurs in many of his films is the passage of the urban experience within urban localities. His film making achievements are recognised by the significant number of international film festivals and film making collectives who have screened his work over a time span of more than twenty years.

Mohamed Thara (Bordeaux and Paris, France), An egg, the white is gone but the yellow remains, 2024

In the video, we see an African man breaking eggs with a knife, one after another, in a repetitive, obsessive, and monomaniacal act. He repeatedly says out loud, 'An egg, the white is gone but the yellow remains.' The video clearly shows the impossible reconciliation between the colonizer and the colonized. Inside an egg, the white and the yellow coexist harmoniously and naturally, even though they don't have the same texture, color, shape, or smell. But when there is a fracture, a break, or a rupture between them, each follows its own nature. The egg is a prison; it is the symbol of both creativity and fertility, hope and a promise of life, a new birth, and regeneration. With the broken egg, horror takes over. It's the paradox of the egg: on one side, there are broken shells, a shattered life, and on the other, the hope of a return to life and rebirth. The video also shows that in one way or another, imperialism, colonisation, and the domination of peoples never last. Sooner or later, the white is obliged to leave and give the territory to the yellow.

BIO: Mohamed Thara holds a higher national diploma in visual arts and a master's degree from the École Supérieure des Beaux-Arts de Bordeaux. A graduate of INA SUP (National Audiovisual Institute) and then the École Professionnelle de Cinéma in Paris, he holds a doctorate in aesthetics and art theory from the University of Bordeaux-Montaigne (Ph.D.). He has participated in numerous international exhibitions; his works are featured in important collections in Morocco, France, and abroad, and his videos have received numerous awards. He lives and works between Bordeaux and Paris, France.

Parham Ghalamdar (Manchester, UK), Angels Don’t Die In Multiplayer, 2025

A short experimental film built from the visual language of livestreams, game HUDs, and AI-generated newsfeeds. A fictional conflict unfolds as a cascade of synthetic clips, captions, and machine-seen “evidence,” tracking how war becomes an interface, rumor becomes reality, and images begin to author events.

BIO: Parham Ghalamdar is a multidisciplinary artist based in Manchester, working across moving image, painting, and writing. In 2025 he directed his first experimental short, The Sight is a Wound, a video-essay on the collapse of image-making amid live-streamed atrocity, made through the burning of over fifty of his own paintings as an act of refusal. The film has screened widely and received awards including Best Short Documentary at the Gjon Mili International Video Art Festival.

Jingyuan Yang (Shanghai, China), Crying Machine, 2025

Crying Machine is an interactive installation imagining a future where the world runs like a factory and productivity overrides human emotion. I built a mirrored steel sculpture with servo-driven spines, ultrasonic sensors, and a Touch Designer audio-visual system. As viewers approach, projections shift from shimmering triangles to scarlet forms, and the soundscape transforms from mechanical rhythm to layered crying, composed from the machine’s own vibrations. Inside, blood-colored fibers and a silicone heart with a single eye reveal hidden decay beneath a polished surface.

BIO: Jingyuan Yang is a multimedia artist working across interactive installation, sonic sculpture, video art, and virtual reality. Rooted in her lived experience with bilateral nerve hearing impairment, she explores how bodies navigate sound-dominated systems shaped by stigma, vigilance, and fatigue. Through tactile, spatial, and time-based media, she builds environments that translate listening into vibration, light, and non-verbal sensation, challenging norms of ability, control, and communication.

Krista Steinke and Meg Cook (Houston, TX), U-SCOPIC, 2024

Drawing inspiration from microscopic creatures and audio and imagery from the NASA archives, the artists animate new forms using various experimental techniques. In this piece, circular orbs morph in and out of focus, resembling specimens in a petri dish, a starry galaxy, or bubbly particles floating in space. From the tiniest creatures that help keep our ecosystem healthy to the farthest star that illuminates our sky, the project reflects on the beauty and interconnectedness within our universe.

BIO: Krista Steinke is an artist and filmmaker known for her experimental approach to photo media. Her work draws from art and photographic history, science, current events, the female perspective, and individual experience to explore how the physical, social, and personal intertwine. Meg Cook is a multidisciplinary artist and stop motion animator. They regularly exhibit and screen their work in museums, galleries, and film festivals across the country, as well as internationally. Steinke and Cook are both professors in PVFA at Texas A&M. This project marks their first collaborative work together.

Sandrine Deumier (France), Memories for an unstable future, 2023

"Memories for an unstable future" is a journey through landscapes, neither natural nor artificial, in which the material of the landscape is the constitutive element of a new human existence. The video evokes the possibility of imagining non-invasive ways of living that could steer the present towards viable near-futures, where living would mean sharing the world-with.

BIO: Sandrine Deumier is a multidisciplinary artist working in the fields of performance, poetry and video art whose work investigates post-futurist themes through the development of aesthetic forms related to digital imaginaries.

Passionate about digital storytelling and immersive artistic experiences, she has been working for several years to develop poetic and visual fictions centred on the imaginary world of the living. Ecological concerns and speculative futures are at the heart of her research.