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Instead of students, the building was temporarily inhabited by creatures created by the artist, and the footage is accompanied by Koťátková’s gentle, sensitive, yet critical voiceover (letter to the school). It is complemented by the echoes of children’s voices and quotes from the school rules, serving as a reminder of how strongly the elementary school environment shaped us. What memories do we carry into adulthood from the spaces of gyms, locker rooms, cafeterias, desks, and “in front of blackboards”? 
On January 7, 2005, Oury Jalloh, an asylum seeker from Sierra Leone, died in a German police cell as a result of a fire. The police version of the case states that it was probably an accident caused by the detainee himself, or suicide, in connection with the ignition of a mattress made of non-flammable material to which Oury Jalloh was handcuffed and shackled.
In the heart of Madrid a ravaged forest lays calm in the aftermath of the storm. Shepherds, sheep and dogs roam among the branches of uprooted trees. Above them, the city resounds with birdsong and underneath we hear the murmurs of the herd. Old walls, new barriers enclose this territory. At night its borders dissolve on the hilltop. Under a black sky the contours of its inhabitants emerge. The land rings out and the city glimmers. 
Artist Sissel Mutale Bergh describes her latest film, Elmie (2023) – a Southern Sámi word meaning sky, air and storm – as a documentary poem and a lamentation on air, breath, birds, mountains and wind power. For several years, Bergh has followed the construction of – and opposition to – industrial windfarms at Fovsen/Fosen in the southern district of reindeer herding at ÅerjelFovsen Njaarke Sijte.
Kateryna Khramtsova filmed a short documentary about a non-binary performer and soldier entitled Qirim (2023), which has been screened at many film festivals, both here and abroad. In the accompanying essay, Kryštof Kočtář presents the film in the context of Khramtsova's artistic work.
Brood – Stranger’s Vial – Womb is a “game that has forgotten its own rules” and “a story without an ending.” Instead of a clear, linear fantasy, it offers a fantasy space that we view through several layers of material and media abstraction. It makes everyday objects and (in)human identities special. It invites us to notice the affects of humanity in the midst of the climate crisis, which can only be glimpsed through peripheral vision, somewhere at the edge of gilded metal. Just beware: The sides will be reversed.
The Heron is a film about the Stromovka park, however, it is perhaps more about us, people, and the different activities we may pursue in city parks. It shows inexplicitly to what extent people are influenced by parks and parks by people. What role do parks play in our contemporary society, in our everyday lives?
Diana Lelonek explores relationships between humans and other species. Her projects are critical responses to the processes of over-production, unlimited growth, and our approach to the environment.
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