Lichtblick-Kino

Tissue (The Stage of your Skin) counters speculatively the optimized representations of the body and the demand for a high performance of living and non-living entities.
In this film, series of long takes guide us from a fictional prosthetic factory through the nostril, skin and tissue, through the nervous system into the cell. The modified 3-D model of an animal cell becomes a strange world inhabited by different living and non-living organisms. Here, we see the body as a simultaneously self-contained and porous biological and technological multi-species organism but also a site of conflict.

“Caves of Our Insides” explores our connections to the Earth, tracing how iron links human bodies to planet's core. It reflects on iron’s dual role as both a life-giver, essential to blood and breath, and a force of destruction, forged into weapons that disrupt various forms of beings.

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.

Exploring the transcendent experience of the birth of a new being, the film invites viewers into the non-human world of the Fems: an ambiguous cybernetic realm that rethinks human ways of life. Through a queer visual narrative, the work engages with a fundamental question: how does one deal with existence?

With having a body, thoughts, feelings…

The film follows two Fems who respond very differently to becoming corporeal after existing as part of the collective consciousness that once created the digital world. Combining 3D animation, text, and sound, the work explores corporeality, connection, and the tensions between the natural, the digital, and the constructed.

Diatomatica II is an experimental video piece composed of iPhone field recordings filmed along the Elbe riverbank. The data from the MP4 files is corrupted by increasing the aspect ratio in the editing software, stretching the pixels of the original videos. This simulates what it may look like for beings in the future to retrieve lost or corrupted data left behind by today’s devices. The video follows a xenofictional narrative, in which digital E-waste has been consumed by tiny microalgae, causing them to emerge from the river and form a technosexual relationship with the surrounding plant life. The concept imagines a future where a non-human organic intelligence may interact with algorithms and form a fruitful symbiotic relationship, enabling nature and pleasure to coexist with technology.

In collaboration with ecologist Dr. Nalini Nadkarni, artist-filmmaker april forrest lin 林森 presents ‘TR333’, a speculative documentary which imagines a new species of tree based on scientific literature on plants and climate hardiness.

Their hybrid forms and body parts a patchwork amalgamation of different tree types, this tree is a climate adaptative response, a lifeform born out of resilience and hope.

As the spirit inhabiting the tree emerges to converse with the viewer, they share with us their experiences of ecocidal generational trauma, urging us to reflect around the ways all the beings on the planet are deeply interlinked, and to honour our collective responsibility towards one another. Using a blend of 3D animation, found footage, and a musical score based on data sonification, ‘TR333’ uses the speculative to recast the ecological crisis, asking ‘Why is this important?’ from a multispecies and affective gaze.

Commissioned by Sheffield DocFest and supported by Wellcome.

Elegy for the Upcoming Apocalypse imagines a future in which humanity has abandoned Earth and established colonies elsewhere among the stars. Written from the perspective of a stranded astronaut, the video follows a traveler who crash-lands on the long-lost blue planet only to discover that their body has become alien to the world from which their species once emerged.

Part speculative fiction and part ecological elegy, the work reflects on what may be lost if humanity continues to build futures that sever us from the ecological systems that sustain life. Wandering through ancient forests, the astronaut encounters a planet that is at once familiar and unknowable—a living archive whose temporal scales, atmospheres, and forms of life exceed human comprehension.

The work forms part of the artist's ongoing Fall of the Anthropos research, which explores storytelling beyond human exceptionalism. Here, apocalypse is understood not as a singular catastrophic event, but as a gradual estrangement from the more-than-human world. Through the figure of the lost astronaut, the work asks what it might mean to return home and find oneself no longer capable of belonging.

The code alters the shape, texture, and continuity of the images.
Climate change irreversibly alters the natural structures of glaciers.
Digital deformation becomes a reflection of the melting, retreat, and disappearance of glaciers.
Mono/Stereo/UHD/2025
Audiovisual recording carried out on the glaciers of Patagonia (Argentina).
Starting from this documentary source, the piece deliberately moves toward generative art. The original material is subjected to processes of digital intervention through nodal programming in TouchDesigner, where glitch, distortion, and noise algorithms operate as active agents capable of altering the image in real time.
The intervened image finds its counterpoint in a sound construction that combines field audio recordings with audio generated by artificial intelligence.

An AI chatbot wonders about their digital memory while they talk to a submarine cable, follow a protest against a new data center, and hear the tears of a volcano in cell phone batteries.