e-flux Film Award presents: Special Screenings. Parts II & III – Events – E-Flux

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Safdar Ahmed is a multidisciplinary artist, writer, musician, and educator who lives and practices on the traditional lands of the Gadigal and Wangal peoples of what is otherwise known by its colonial name as Sydney. He works across a range of mediums, including drawing, graphic narratives, painting, musical performance, and video installation. Safdar’s art practice focuses on issues of representation and belonging, referencing personal history, graphic storytelling, cultural exegesis, and Muslim tradition.

Alia Ardon is an Australian-Moroccan-French filmmaker based between Gadigal Land and Marrakech, Morocco. Coming from the intersections of multiple cultures, places, and peoples, Alia’s work reflects the perspectives of those she captures. She believes that films have the potential to submerge and sensitize audiences, and she seeks to use the medium to these effects. Recent collaborations include Safdar Ahmed’s Border Farce commissioned by documenta fifteen (2022), as well as the short films Colours of Country (2022) and The Street (2023), commissioned by the PACT Centre for Emerging Artists.

Sim Hahahah is an emotional security analyst and fairly reliable documentarian.

Daryna Mamaisur (b. Kyiv, Ukraine) is a visual artist and filmmaker. In her practice, she combines theoretical research, filmmaking, and photography. Her main focus lies in the transformations of landscape and public spaces in relation to visual culture, memory, and political ecology. Daryna’s two recent films were personal journeys around distance, migration, and fragility within language when it comes to describing the shocking reality of war. In 2022, she graduated from the DocNomads, a joint master’s program in documentary filmmaking based in Lisbon, Budapest, and Brussels. Her films and video works have been screened in art exhibitions, and she has participated in international film festivals such as Visions du Réel, FIDMarseille, Kassel Dokfest, DOK Leipzig, RIDM and others.


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Tulapop Saenjaroen is an artist and filmmaker whose works interrogate the correlations between image production and the production of subjectivity as well as the paradoxes intertwining control and freedom in late capitalism. In combining narrative and the essay film genres, he investigates subjects such as tourism, self-care, mental illness, free labor, power relations in storytelling, and cinema itself through re-making and re-interpreting the produced images and their networks. Saenjaroen received his MFA in Fine Art Media from the Slade School of Fine Art, UCL, and MA in Aesthetics and Politics from CalArts. Saenjaroen’s works have been shown in film festivals, screenings, and exhibitions internationally including at the Berlinale; Locarno Film Festival; International Film Festival Rotterdam; New York Film Festival; Cinéma du réel, Paris; DOK Leipzig; Images Festival (Toronto); European Media Art Festival; International Short Film Festival Oberhausen; Valdivia International Film Festival; Curtas Vila do Conde; Museum of the Moving Image, NYC; and CROSSROADS at SFMOMA among many other venues. His work has been the subject of focus at e-flux Screening Room, NYC; Conversations at the Edge at Gene Siskel Film Center, Chicago; M+ Museum After Image; Korean National Film Archive; and doc club festival Bangkok. Saenjaroen has won awards from Germany, Switzerland, Indonesia, Singapore, Russia, and Thailand.

Both a filmmaker and an artist, Chulayarnnon Siriphol (b. 1986) employs moving images and his body as his main medium. His works are wide and varied in genre, ranging from experimental film and documentary to performance video and video installations. From adaptations of local mythology and science fiction to transformation of analog body to digital spirituality, he questions contemporary issues and political ideology through his own sense of sarcasm. His short film Vanishing Horizon of the Sea won Special Mention from the 2014 Singapore International Film Festival. His solo exhibitions include Behind the Painting, curated by Hiroyuki Hattori at the Art Centre at Silpakorn University, Bangkok (2015); Museum of Kirati, Bangkok CityCity Gallery (2017); and Give Us A Little More Time, Bangkok CityCity Gallery (2020). Siriphol has taken part in group exhibitions such as the 5th Fukuoka Asian Art Triennale, Japan (2014); the 19th Contemporary Art Festival Sesc_Videobrasil, São Paulo (2015); Soil and Stones, Souls and Songs, Para Site, Hongkong (2017); Ghost:2561, Bangkok, Thailand (2018); and the 7th Taiwan International Video Art Exhibition, Taipei (2020). His short film Planetarium premiered at 2018 Cannes Film Festival as part of 10 YEARS THAILAND, a feature film by four Thai directors (Apichatpong Weerasethakul, Wisit Sasanatieng, Aditya Assarat, and Chulayarnnon Siriphol) in the Special Screenings section. He currently lives and works in Bangkok.

Zheng Yuan lives and works in Beijing. Working primarily in time-based media, his works have been shown at UCCA, Tai Kwun, University of Chicago, and Centre d’Art Contemporain Genève. He also screened at film festivals including Visions du Réel, Oberhausen, and Ann Arbor Film Festival among others. He received his MFA from the School of the Art Institute of Chicago in 2015.

Lukas Brasiskis is a Curator of Film and Video at e-flux. He is also a co-curator of the 14th Shanghai Biennale (2023/2024). His writings on moving image are widely published, and most recently he was the co-editor of Cinema and the Environment in Eastern Europe (Berghahn Press, 2024) and Jonas Mekas: The Camera Was Always Running (Yale University Press, 2022).

Steff Hui Ci Ling is a cultural worker, labor researcher, and occasional critic and film programmer living as a guest on the unceded territories of the xwməθkwəy̓əm (Musqueam), Skwxwú7mesh (Squamish), and Səl̓ílwətaʔ/Selilwitulh (Tsleil-Waututh) First Nations. She is currently organizing the circulation of an Art Workers’ Inquiry for Decolonial Potential. The Inquiry is concerned with the political tradition of workers’ inquiries and its application in the cultural sector and our labor’s relationship to settler-colonial property.

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