Edge of Doom 2020

A short succession of splits-screens gathers women in the throes of extreme states, screaming, with eyes wide, arms thrown up in dismay, angular eyebrows, stunned mouths ­– laying, running, standing, leaping to their feet: instants of extreme emotions sought and found in silent films of the 1920s.

occhiolino 2022

The Great Thaw 2024

The Great Thaw is a project about permafrost thaw and how landscape is changed by it. We take a close look at ecosystems like the boreal forest, the tundra and the arctic coastline to document the impacts of the melting permafrost caused by climate change and to present the beauty of permafrost itself. After Antarctic Traces, The Great Thaw is a new part of the Ecological Grief Series which focuses on different aspects of human interaction with nature in the Anthropocene. The series investigates environmental melancholia and the loss of places, species and ecosystems. (directors' note)

Kingkong 2000 ( 4)

In Michaela Grill´s work, the opulence of these images is diametrically opposed to a minimalistic reduction to an element of urban architecture. The disintegration of the initial material (the windowed façade of a building), which resembles a chemical process, produces the colors violet, light blue and white and dissects the urban vocabulary of forms. The dispersion of the big city´s lights carries over to the structure of time and space and ceases to conjure up an external danger. Instead, the viewer is confronted with sound and images which decompose the personal criteria employed in sensory perception.

Into the Great White Open 2015 ( 5)

Shifting and gliding views of the Arctic Ocean oscillate between abstraction and figuration. Snow, ice, clouds, and pixels melt and collide, confusing our sense of spatial orientation.

KILVO 2004

KILVO is a classical music video in the sense that the music already existed, a track by Radian called Kilvo like the town in Lapland. I wanted to know what the place looked like that inspired the music, so I went online and found all these old postcards and I started collecting them. I reduced the postcards to lines to emphasize the two-dimensionality of the represented landscape. I wanted the final videoimage to look like a postcard, so I divided it in 4 parts and generated every image on a black, a gray and a white background. Each beat of the bassdrum moved the images to the next quarter and I made an arrangement so that each quarter had to move in every three colors and in every possible direction. So in the end it became this very dynamic, animated postcard.

La tristesse du lynx 2025