Berghall, the collaborative duo of Icelandic artist Olga Bergmann and Swedish-born, Reykjavík-based Anna Hallin, create interdisciplinary works that blend sculpture, installation, video, and drawing with speculative science and fictional archaeology. Samdreymi (Social Dreaming) unfolds through a sequence of dreamlike scenes that merge video footage, photography, and animation into a fluid journey where one vision dissolves into the next. Fragments of text appear on screen like messages from the subconscious, guiding the viewer through shifting thresholds between human and animal, individual and collective, place and placelessness. The work imagines a dream-world sustained by the symbiosis of different life forms, echoing Ursula K. Le Guin’s reflections on social dreaming: that dreams can free us from the confines of the self, reveal what we fear or wish to believe, and at times disclose what we did not yet know.

Frederique Pisuisse lives and works in Amsterdam. She studied at the Gerrit Rietveld Academie in Amsterdam, Goldsmiths University of London, and Psychology at the University of Groningen. I’m Just Lying There and Tripsitter are two experimental short films that explore the entanglements of memory, trauma, and perception through personal, embodied narratives. I’m Just Lying There is a ficto-memoir about a teenage girl’s relationship with an older man, using poems, pop songs, and surreal imagery to examine desire, danger, and the internalization of the male gaze. Blurring vulnerability with detachment, the film reflects on female subjectivity, autonomy, and the politics of viewing. Tripsitter follows the aftermath of a traumatic DMT trip, weaving a poetic narration with digital landscapes to navigate dissociation, ayahuasca ceremonies, and recovery from depersonalization disorder. Both works critically interrogate power, trauma, and the body, situating intimate experiences within broader cultural, political, and therapeutic frameworks.

Hrund Atladóttir works with layered imagery, sound, and time-based media. Her installations often merge scientific observation with personal narrative, inviting viewers into spaces where myth and environmental urgency meet. Cloudland / Bólstraborg drifts through the quiet of an Icelandic summer night, where two figures linger in the grass, unhurried and unburdened. Surrounded by the soft call of birds and the slow movement of fog rising from the river, the work captures a mood of carelessness and calm, a space where nothing needs to happen. Light stretches through the night, holding a suspended state between presence and absence, boredom and serenity. In this atmosphere of stillness, time loosens its grip, and the simple act of being in nature becomes both a pause and a memory, at once fleeting and infinite.

Klāvs Liepiņš (b. Latvia) is a filmmaker and visual artist whose practice moves between cinema, performance, and installation. His work often lingers in the in-between where silence, gesture, and atmosphere carry as much weight as narrative. Godspeed (2025) is a short film shot between Iceland and Latvia, starring Sandis Liass and Klāvs Liepiņš, with an original score by Julius Pollux and cinematography by Renāte Feizaka. Set against a decaying post-Soviet landscape, the film follows two men in a quiet, unhurried confrontation with memory and farewell. Rather than building toward drama or resolution, Godspeed dwells in stillness, the pauses, glances, and gestures that mark the unspoken. It is a meditation on love, closure, and the sacredness of letting go, where the fragility of human connection is held with tenderness against the backdrop of time and decay.

(Rhoda Ting (b. 1985, Australia) and Mikkel Bojesen (b. 1988, Denmark) are an artist duo based in Copenhagen, working at the intersection of art and science. Their practice centers on non-human agency, microbial systems, and speculative futures, often incorporating living organisms and laboratory materials into sculptural and performative installations. Their practice incorporates scientific collaboration, working with bacteria, spores, and other life forms to make visible the unseen processes of the Earth. By cultivating living systems in sculptural contexts, their work draws attention to interspecies collaboration and temporal cycles far beyond human perception. 

Deep Time invites viewers to step outside the narrow framework of human temporality, making visible the geological timescales that precede and outlast human history. By presenting the earth’s evolutionary archive, the work reframes the human experience as a minor blip in the planet’s chronology. Rhizome, by contrast, brings the microscopic scale into focus, highlighting the entangled, non-linear, and decentralized networks of fungal life. As a sculptural installation composed of petri dishes with living fungi, the piece operates as a living system, a slow, unpredictable collaboration between art and organism. The work evolves over time, shifting unpredictably, and resisting spectacle. Their practice challenges not just the viewer’s pace of attention but also their understanding of evolutionary, ecological, and aesthetic systems.

Santiago Mostyn is an artist whose practice foregrounds narrative entanglements in pursuit of new understandings of place, both in a cultural and psychic sense. Mostyn has long been interested in the interplay of music, narrative, and the embodied self, with works manifesting as films, exhibitions, and curatorial projects.

At Radcliffe, Mostyn is developing an expanded film script that reimagines the events of the Grenada Revolution (1979–1983) from the perspective of three revolutionary educators, building a narrative from this historical moment of Black radicalism that presages contemporary struggles for political self-determination.

Mostyn received a BA from Yale University and an MA from the Royal Institute of Art, in Stockholm. His recent exhibitions include After the Sun—Forecasts from the North at Buffalo AKG Art Museum (2024); The Threshold Is a Prism (2023) at Kulturhuset Stadsteatern, in Stockholm; Mare Amoris | Sea of Love (2023) at UQ Art Museum, in Meanjin/Brisbane; Dream One (2022) at Södertälje Konsthall, in Sweden; The Show Is Over (2022) at the South London Gallery; 08-18 (Past Perfect) (2022) at Gerðarsafn Art Museum, in Kópavogur, Iceland; and The Real Show (2022) at CAC Brétigny, in France. Mostyn cocurated The Moderna Exhibition 2018: With the Future Behind Us, a survey of contemporary Swedish art, and was a resident at Künstlerhaus Bethanien (2021) and a fellow at Akademie Schloss Solitude (2022, 2024).

Sasha Huber (b. 1975) is a Helsinki-based internationally recognised visual artist-researcher of Swiss-Haitian heritage. Huber’s work is concerned with the politics of memory, care and belonging in relation to colonial residues left in the environment. Connecting history and the present, she uses and responds to archival material within a layered creative practice that encompasses performance-based reparative interventions, video, photography, and collaborations.

Huber also usurps the staple gun, aware of its symbolic significance as a weapon, while offering the potential to renegotiate unequal power dynamics and the possibility of repair, symbolically stitching colonial
wounds together.

She holds an MA in visual culture from Aalto University in Helsinki and is presently undertaking a practice-based PhD in artistic research at the Zurich University of the Arts. Huber also works in a creative partnership with visual artist Petri Saarikko. From 2021–24 her work has been touring under the title “You Name It” which was circulated by The Power Plant Contemporary Art Gallery in Toronto.

Tabita Rezaire is a French-Guyanese-Danish artist, healer, and tech-politics researcher whose work bridges digital technology, spirituality, and ancestral knowledge. She creates immersive videos, performances, and installations that address colonial histories, cyberfeminism, and the politics of healing. In Deep Down Tidal and Premium Connect, Rezaire explores the ocean as both metaphor and infrastructure revealing the submerged histories of colonization, migration, and communication encoded in underwater data cables.  Her work resists colonial fragmentation by reconnecting viewers to non-Western ways of knowing, restoring ruptured genealogies and proposing temporalities grounded in connection, ritual, and cosmic balance. 

Thomas Pausz is a visual artist and speculative designer based in Reykjavík. He creates sculptural and conceptual works that explore post-human ethics, ecological inquiry, environmental storytelling, and the possibility of multispecies coexistence. Pausz’s installations often evoke hybrid worlds that exist between natural systems and human intervention. His ecological media practice creates “frictions” between life forms and technologies, probing the haunted intersections between biology, computation, and environmental ethics. 

In his work Double Capture, he invites us into the intimate, sensuous choreography of pollination, not as a biological process alone, but as a relational, time-based performance between species. The greenhouse becomes a living instrument, attuned to the secret signals exchanged between flowers and their pollinators: the vibratory language of touch, color, scent, and invisible electromagnetic pulses. Double Capture refers to the act of pollination, where the flower “captures” the pollinator, and vice versa.