El mundo antes del mundo (The World Before the World) explores how movement shapes our perception of contemporary landscapes. Filmed from the windows of public transport, the work observes how repeated routes – highways, industrial zones, and peripheral spaces - begin to reflect and distort one another, forming a continuous landscape. Through visual repetition and deformation, these images merge into a collective memory, creating a shared geography, a memory of something that never existed. Time appears suspended, as if the future were no longer arriving.

La Virginia reflects on what transforms a piece of land into a territory, starting from the artist’s family history of displacement in Colombia. Reconstructing a place Penagos’ grandfather was forced to abandon, the work brings together fragments of memory, archival material, and animated cartographic forms.

Through collage, folding, and intervention inside the images, the project builds a layered landscape where personal and political histories overlap. Rather than presenting a fixed narrative, it unfolds as a shifting field where territory is shaped by loss, memory, and persistence.

The work approaches cartography not as representation, but as a process — open, unstable, and continuously reconfigured.

ESTAFETTE explores instability as a physical and ecological condition, focusing on the shifting landscape of the Scheldt estuary. Developed through architectural and artistic research, the project proposes a way of working with, rather than against, the unstable ground.

The film documents the construction and transformation of a temporary structure that combines a steel framework with organic materials such as reeds and hemp. As the structure evolves, it reflects a broader idea of «wetlandforming» — a mode of inhabiting landscapes shaped by tides, decay, and renewal.

Rather than presenting a fixed outcome, the work follows a continuous process of change, where design, the environment, and time remain in flux.

Perhaps I Will Find Something in the Fog of Erasure explores the possibility of reconstructing a history which has been partially erased. The project originates from a single photograph salvaged from the artist’s mother’s archive, the only image to survive after the loss of all family belongings during the 1983 genocide in the Chouf villages of Lebanon.

Moving between personal confrontation and speculative reconstruction, the work traces fragments of memory, absence, and archival gaps. Drawing on home movies filmed by tourists in Deir El Qamar, where Chehab’s mother sought refuge, the film reassembles displaced histories into a fragmented documentary form.

Unstable Traces explores sound as a dynamic field shaped by algorithmic processes and controlled unpredictability. Drawing on principles of serial composition, the work applies structured transformations to sound parameters rather than musical pitch, generating evolving sonic textures that resist repetition.

Through a system of modulation and permutation, the work creates patterns that balance order and emergence, producing continuously shifting audiovisual states. Sound and image unfold together as an unstable environment in which form is never fixed but constantly reconfigured.

Positioned within Unstable Grounds, the work investigates how rule-based systems can produce behaviors that exceed their own logic.

Shaken Grounds, Shifting Skies is a short film that traverses the volatile terrains of Campi Flegrei, Mount Vesuvius, Vulcano Island in Italy, and the retreating Pasterze glacier in Austria, interweaving these landscapes with scenes from the art studio and reflective questions. Through this constellation of film fragments, the work meditates on how seismic shifts in the external environment resonate within the human body and psyche. As the narrative unfolds, its focus shifts to seismic zones, where tectonic instability is no longer purely natural but increasingly shaped by human activity: climate change, groundwater extraction, mining, and waste.

The Great Thaw is a cinematic exploration of landscapes transformed by thawing permafrost. As climate change accelerates, frozen ground gives way, reshaping ecosystems across the boreal forest, tundra, and Arctic coastline. The film reveals both the fragile beauty of permafrost and the profound consequences of its disappearance, from collapsing terrain to shifting habitats. Created in close collaboration with scientists, indigenous communities, and field recording specialists, it follows the subtle and dramatic traces of this change. Blending research and lived experience, The Great Thaw brings urgent attention to one of the most overlooked environmental transformations unfolding today.

This film-poem examines the bodily and sensual connection between the human and the non-human – the love between a poet and the disappearing snow in the Circumpolar North. The poet-player dives into the snow, opening and closing the folds of memory, desire, grief and loss. A nature documentary for the generations of a snowless future.

Ice Roof Tile is an artistic research intervention exploring repair as a temporary and unstable act. In response to the disappearance of traditional tiled rooftops and identity amid urban transformation, the artist repaired a damaged roof using tiles cast from ice. While roof tiles traditionally signify attachment and continuity, ice introduces inevitable melting and loss. This act of repair both sustains and destabilises the structure, revealing repair as a process rather than restoration. As the tiles dissolve, the work reflects on the fragility of urban space and questions how identity persists when familiar environments vanish.

Remixing Memories of Mozambique is a 20-minute audiovisual work that reinterprets late-1980s ethnographic fieldwork footage from Mozambique (INETmoz/INET-md) as an «unstable ground» rather than a fixed document. Without altering the original images, the film intervenes through live-looping, sampling, and improvisation with contemporary Mozambican instruments and a custom digital midimbira, turning archival sound and vision into a cyclical, contested present. As the third iteration of an ongoing artistic research trajectory (following KISMIF 2024 and a 2024 interactive Maputo installation), the film makes the archive itself a line of flight.

Sirje Runge, legendary Estonian avant-garde artist, painted her last work, “Great Love”, in 2003. In 2021, she installed this 10-metre monumental painting — consisting of white brushstrokes on a white canvas — in nature. The only way to truly «see» the painting is to observe the changing natural light as it reflects on the canvas. As the human timescale is too short to perceive it, the movement of the sun was captured over a period of three years, and hundreds of thousands of photographs were amalgamated into different iterations of time and light across the canvas, as the seasons change and the Earth revolves around the Sun.

An interactive installation recounting two simultaneous disappearances: the mayfly and the ruins of a building. The mayfly's final transformation grants it the ability to reproduce but strips away its jaws — unable to feed, it hatches in a desperate dance of life and death, and then quickly dies. At the same time, the ruins dissolve before our eyes. Both processes are shaped by the spectator's presence — stirring the swarm into motion and accelerating the building's erasure. The viewer is not a witness but an agent, implicated in both the hatching and the disappearance, yet powerless to stop either.

Water as Time is an artistic research project developed within the FilmEU WIRE Horizon Mission Pilots that treats water as both subject and epistemic partner. The installation unfolds as a projection of ecology, combining moving image, sound, haze, reflective materials, and translucent surfaces to form a temporal volume rather than a set of screens. Water appears across scales from sweat, tears, and blood to ice, oceans, and planetary storms, linking bodily, geological, and cosmic processes. Through flows, suspensions, ruptures, and returns, the work renders time perceptible as pressure, release, delay, and transformation, inviting visitors to inhabit ecological change through the unstable material and sensory dynamics of water.