About the Film: 

Mentally set in the artist’s childhood bedroom in her mother’s house in Jerusalem, ‘bring me a thought i can act on’ is a stream of consciousness diary exploring the state of exile, wondering and wandering through thoughts on how to love a homeland. While drawing on dance and color as fleeted memory systems within disappeared identities, this film is a personal exploration of what the body remembers about itself once the mind forgets. Blending elements of Naqshbandi Sufism with contemporary disappearance in Jerusalem, Lujain maps out her inner world during a single car journey from December of 2024. After a lifetime of watching her mother play tug of war with Jerusalem’s ‘Center of Life Policy’, she documents the act of spiraling in and around Palestine through a series of U-turns at the Allenby bridge (the Jordanian-Israeli land border near Jericho). With fleetness as a constant psychological state, ‘bring me a thought i can act on’ weaves together flashing memories and resurfacing dreams; creating a time capsule of a memory that is almost whole, only for a second before it vanishes again.

About the Artist: 

Lujain Tamer Mansour is a London based artist and filmmaker from occupied Jerusalem. Taking a pyscho-automatic filmmaking, drawing and sculpting approach, her work centers the play between childhood recall and Palestinian mysticism as an idle archive of wider occupational and exiled conditions involving Jerusalem’s ‘Center of Life Policy’. While completing her studies at the Slade School of Fine Art (UCL) in 2025, she developed a system of chronic diary keeping as an archival system to preserve all that is fragile and disappeared.

About the Film: 

The Notes with series combines three video works shot between Jamaica and Atlanta, presented in full, without edits. This video from the series, Notes with Jamaica, 2025, was developed in over-exhausted fluid, creating an unintentional chemical decay that shaped the work's visuals. This reflected a parallel to the very subject of the material captured, which deals with the loss of footage during a time of family bereavement back on our family land in Jamaica.

About the Artist: 

Kim Elizabeth Powell is a new media artist currently exploring work at the intersections of video, sound, and textile. The Sonic has become how Powell accesses the archive, and video is how she contributes to it. The “in between” of presenting thesetwo time periods next to one another – past sound scoring present moments, both dealing in the analogue – works toward a sentiment of dissonance. This dissonance is the pleasure of now knowing, and the grief of the prior, once being unknown. Thus this relationship to the archive is constant: you’ll never know what you don’t know until you know it, obviously. However, dealing in the archive requires this diligent mysticism to uncover what often feels like a continuous reel of yet-to-be-known. It puts into question the validity of anything that feels sure in the present moment because an archive is built in the mundane and in the reality of being determined.

About the Film: 

IN SEARCH OF THE SPIRIT explores the sensory displacement of contemporary life under conditions of mass and self-surveillance and explores the ways technological life has severed us from our own senses. The work converges two distinct technologies of survival in an attempt to piece together the fractured self: kelkettely, an endangered Finnish-Karelian vocal tradition displaced by war and territorial annexation, and krumping, a street dance developed in South Central Los Angeles as a non-violent, transformative response to systemic violence. The film takes as its condition the suffocation of the Foucauldian panopticon in its contemporary form — a discipline no longer imposed from a watchtower but internalised, carried out on ourselves through constant self-surveillance. It offers no exit. It holds open the question of whether opting out is still available to us. Created in collaboration with ethnomusicologist Karoliina Kantelinen and dancer Jordan Douglas, the work is performed by practitioners rooted in the living traditions it draws on.

About the Artist: 

Anna Pesonen (b. Finland) is an artist working across sculpture, sound, installation and video. Her two-site installation BASTION OF REFUGIA, which represented Finland at the Malta Biennale 2026, turned the acoustics of a sixteenth-century brutalist fort into a space of transmission. She holds an MA from the Royal College of Art, London, where she founded the Critical Futures Society, and is currently an MFA candidate in sculpture at Yale School of Art (2028). She is based between London and New Haven.