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 vinnur með vídeólist, hljóð og tímatengda miðla. Innsetningar hennar sameina gjarnan vísindalegar athuganir og persónulega frásögn, og bjóða áhorfendum inn í rými þar sem goðsögn og umhverfisvá mætast. Cloudland / Bólstraborg reikar um kyrrð íslenskrar sumarnætur, þar sem tvær verur dvelja í grasinu, áhyggjulausar og óbundnar. Umhverfis þær hljóma mjúk köll fuglanna á meðan þokan rís hægt upp frá ánni, og verkið fangar andartak kæruleysis og róar — rými þar sem ekkert þarf að gerast. Ljós teygir sig í gegnum nóttina og heldur á lofti ástandi á milli nærveru og fjarveru, leiða og kyrrðar. Í þessari kyrrlátu stemningu slaknar taki tímans, og sún einfalda gjörð að vera í náttúrunni umbreytist í hvíld og minningu, sem samtímis er hverful og eilíf.

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 (f. 1985, Ástralía) og Mikkel Bojesen (f. 1988, Danmörk) eru listamannatvíeyki með aðsetur í Kaupmannahöfn sem starfa á mörkum lista og vísinda. Þau beina athyglinni að virkni ómannlegra fyrirbæra og mögulegum framtíðarsviðsmyndum, og nýta lifandi lífverur og rannsóknarefni í skúlptúr- og gjörninga innsetningar. Með þverfaglegu samstarfi ögra þau mannmiðaðri frásögn og leggja til nýjar leiðir til samlífis. Í samstarfi við vísindamenn vinna þau með bakteríur, gró og aðrar lífverur til að gera ósýnileg ferli jarðar sýnileg. Með því að rækta lifandi kerfi í skúlptúrlegu samhengi beina þau sjónum að samvinnu milli tegunda og tímaskölum sem eru langt handan mannlegrar skynjunar.

Deep Time býður áhorfendum að stíga út úr þröngum ramma mannlegs tímaskyns og gera sýnilega jarðfræðilega tímaskala sem urðu til á undan mannkyninu og munu vara löngu eftir það. Með því að kynna þróunarsafn jarðarinnar setur verkið mannlega tilvist í samhengi sem smávægilegt augnablik í sögu plánetunnar. Áhrifin eru bæði auðmýkjandi og hugleiðandi – áhorfandinn neyðist til að sleppa tökum á hraða og flýti og taka í staðinn upp jarðfræðilegt þolgæði og heimsfræðilega íhugun.

Rhizome færir hins vegar smásjárlífið í brennidepil, þar sem áherslan er á samtvinnuð, ólínuleg og dreifð net svepparíkisins. Innsetningin, sem samanstendur af petrískálum með lifandi sveppum, virkar sem lifandi kerfi – hægt, ófyrirsjáanlegt samstarf á milli listar og lífvera. Með þessum hætti tileinkar tvíeykið sér bókstaflega hugmyndafræði „hægrar listar“: verkið þróast með tímanum, breytist ófyrirsjáanlega og hafnar sýningarlegum yfirborðsáhrifum. Verkefni þeirra ögra ekki aðeins athyglisgáfu áhorfandans heldur einnig skilningi hans á þróunar-, vistfræðilegum og fagurfræðilegum kerfum.

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.