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.