CINELöwenbräukunst: VISIO – Moving Images in Europe since the 2010s

Venue: LUMA, schwarzescafé, 1. Floor Löwenbräukunst

CINELöwenbräukunst x Kunsthalle Zürich x Migros Museum für Gegenwartskunst

Screening and book presentation hosted by Kunsthalle Zürich & Migros Museum für Gegenwartskunst, with Leonardo Bigazzi, editor, curator and artist’s film producer, Florence; Fanny Hauser, Director Kunsthalle Zürich; and Yasmin Naderi Afschar, Co-Director Migros Museum für Gegenwartskunst

Co-hosted by Migros Museum für Gegenwartskunst and Kunsthalle Zürich, the evening includes a programme of three artists' films: Bliss Point (2023) by Gerard Ortín Castellví, Razeh-del (2024) by Maryam Tafakory and Look On the Bright Side (2023) by Yuyan Wang. The screening will be followed by a talk by curator Leonardo Bigazzi, reflecting on the last decade of artists’ moving-image production in Europe, and is organised in conjunction with the publication VISIO: Moving Images in Europe Since the 2010s.

For fourteen years, VISIO – European Programme on Artists’ Moving Images, organised by Lo schermo dell’arte in Florence, has functioned as a residency and research platform, fostering dialogue, shared methodologies and encounters between emerging artists. In 2022, the programme evolved with the creation of the VISIO Production Fund, supporting young Europe-based artists working with moving images. The screening features three films produced through this fund – Bliss Point (2023) by Gerard Ortín Castellví, Razeh-del (2024) by Maryam Tafakory and Look On the Bright Side (2023) by Yuyan Wang – offering an insight into VISIO’s growing legacy and the diverse ways artists approach the moving image today.

These works provide a lens through which to explore the new publication, VISIO: Moving Images in Europe since the 2010s. Edited by Leonardo Bigazzi, the book gathers visions, experiences and critical interdisciplinary methodologies that have shaped the language of moving images since 2010. It includes new essays and conversations reflecting on the technological and formal transformations introduced by a generation of digital-native artists, building on the shared processes developed during the programme’s first twelve editions.

• In English
• No registration required
• Free of charge

Here you can read the movies' synopsis:

Gerard Ortín Castellví (b. 1988, Spain)

Bliss Point, 2023, 26’

Courtesy the artist, Lo schermo dell’arte and Fondazione In Between Art Film

Bliss Point plunges us into the ever-accelerating rhythm of food supply and the emergence of new techno-capitalist processes. The film guides us from dark kitchens and food advertising sets to AI-managed warehouses. A delivery rider cycles across the city to a makeshift trailer where workers flip burgers. Algorithm-powered robots buzz through a sprawling grid of crates and 3D printers stack layers of computer-generated data to produce food alternatives. Drawing from the concept of optimal palatability, Bliss Point reveals the entanglement of automation and human labour, and how the aesthetics and the politics of food intersect. Together with Future Foods (2020) and Agrilogistics (2022), it completes a trilogy on scopic food regimes.

Yuyan Wang (b. 1989, China)

Look On the Bright Side, 2023 Film, 16’30’’

Courtesy the artist, Lo schermo dell’arte, and FRAC Bretagne

In the age of wire and string, the light emitted from our digital extensions has roots traversing millions, even billions of years. Much like a chrysalis, the world unfolds into a realm of enigmatic brilliance, a seamless blend of circulation, spectatorship and materiality. Starting with materials filmed in LED factories in southern China, the film weaves together recycled footage from social networks to portray a community living under the pervasive influence of everlasting light. Its abstract narrative reveals an extensive network of intertwined nodes and coexisting relationships, all shrouded in obscurity – a letter to our opaque, fragile, organic bodies, caught in an era obsessed with unceasing visibility, transparency, and efficiency.

Maryam Tafakory (b. 1987, Iran)

Razeh-del, 2024, 27’

Courtesy the artist, Lo schermo dell’arte, and Seven Gravity Collection

Zan (Woman), the first Iranian women’s magazine published briefly in the 1990s under the regime, inspires two young students to write a screenplay for an impossible film. Through the use of saturated colors, whispered sounds and archival images, the film questions the presence of women in Iranian cinema and, more broadly, Iranian society.