{"id":5348,"date":"2026-11-05T10:38:48","date_gmt":"2026-11-05T09:38:48","guid":{"rendered":"https:\/\/videosoundart.com\/screening-program-xvi-edition\/"},"modified":"2026-11-09T21:30:06","modified_gmt":"2026-11-09T20:30:06","slug":"screening-program-xvi-edition","status":"publish","type":"page","link":"https:\/\/videosoundart.com\/en\/screening-program-xvi-edition\/","title":{"rendered":"Screening program | XVI edition"},"content":{"rendered":"\n

Fondazione Galleria Milano<\/h2>\n\n

19-22 November 2026<\/h3>\n\n

Screening program<\/h4>\n\n

Thursday 19 november<\/strong>\u2022 h 18:00 \u00b7 Screening of films from the CNAP \u2013 Centre national des arts plastiques, ParisUriel Orlow, Imbizo Ka Mafavuke (Le Tribunal de Mafavuke)<\/em>Thomas Hirschhorn, Deleuze Monument<\/em>Florence Lazar, 125 hectares<\/em>Jordi Colomer, Medina – Parkour<\/em>Randa Maroufi, Le Park<\/em>Meriem Bennani, Party on the CAPS<\/em>\u2022 h 20:16 Haig Aivazian, You May Own the Lanterns but We Have the Light<\/em>\u2022 h 21:01 Nicola Pellegrini e Ottonella Mocellin, Alphabet. The space between us and the unknown<\/em>\u2022 h 21:32 Caterina Erica Shanta, En AusenciaFriday 20 november<\/strong>\u2022 18:00 Nicola Pellegrini e Ottonella Mocellin, Alphabet. The space between us and the unknown<\/em> \u2022 18:30 \u00b7 Ugo La Pietra screening:La grande occasione<\/em>La riappropriazione della citt\u00e0<\/em> Il monumentalismo<\/em>Per oggi basta! (il Commutatore)<\/em>Interventi pubblici per la citt\u00e0 di Milano (Paletti e catene)<\/em>\u2022 21:00 \u00b7 Uriel Orlow, Imbizo Ka Mafavuke (Le Tribunal de Mafavuke)<\/em>\u2022 21:30 \u00b7 Thomas Hirschhorn, Deleuze Monument<\/em>Saturday 21 november<\/strong>\u2022 12:00 \u00b7 Ila B\u00eaka e Louise Lemoine, 24 heures sur place<\/em>\u2022 13:30 \u00b7 Uriel Orlow, Imbizo Ka Mafavuke (Le Tribunal de Mafavuke)<\/em>\u2022 14:00 \u00b7 Thomas Hirschhorn,Deleuze Monument<\/em>\u2022 14:30 \u00b7 Florence Lazar, 125 hectares<\/em>\u2022 15:04 \u00b7Jordi Colomer, Medina – Parkour<\/em>\u2022 15:08 \u00b7Randa Maroufi, Le Par<\/em>k\u2022 15:22 \u00b7 Caterina Erica Shanta, En Ausencia<\/em>\u2022 17:00 \u00b7 Ugo La Pietra, Il monumentalismo<\/em> e Interventi pubblici per la citt\u00e0 di Milano (Paletti e catene)<\/em>\u2022 17:19 \u00b7 Nicola Pellegrini e Ottonella Mocellin, Alphabet. The space between us and the unknown<\/em>\u2022 19:00 \u00b7 Ugo La Pietra, La riappropriazione della citt\u00e0, La grande occasione<\/em> e Per oggi basta! (il Commutatore)<\/em>\u2022 20:00 Haig Aivazian, You May Own the Lanterns but We Have the Light<\/em>\u2022 20:45 \u00b7Marta Innocenti, L\u2019Assedio<\/em>Sunday 22 november<\/strong>\u2022 11:00 Screening of films from the CNAP \u2013 Centre national des arts plastiques, ParisUriel Orlow, Imbizo Ka Mafavuke (Le Tribunal de Mafavuke)Thomas Hirschhorn, Deleuze MonumentFlorence Lazar, 125 hectaresJordi Colomer, Medina – ParkourRanda Maroufi, Le ParkMeriem Bennani, Party on the CAPS\u2022 13:16 \u00b7 Haig Aivazian, You May Own the Lanterns but We Have the Light\u2022 14:00 \u00b7 Marta Innocenti, L\u2019Assedio<\/em>\u2022 14:52 \u00b7 Ugo La Pietra screening:La grande occasione<\/em>La riappropriazione della citt\u00e0<\/em> Il monumentalismo<\/em>Per oggi basta! (il Commutatore)<\/em>Interventi pubblici per la citt\u00e0 di Milano (Paletti e catene)<\/em> \u2022 16:09 \u00b7 Randa Maroufi, Le Park<\/em>\u2022 16:23 \u00b7 Jordi Colomer, Medina – Parkour<\/em>\u2022 16:26 \u00b7 Ila B\u00eaka e Louise Lemoine, The World in a square<\/em>\u2022 19:00 \u00b7 Nicola Pellegrini e Ottonella Mocellin, Alphabet. The space between us and the unknown<\/em>\u2022 19:29 \u00b7 Caterina Erica Shanta, En Ausencia<\/em>\u2022 21:00 \u00b7 Haig Aivazian, You May Own the Lanterns but We Have the Light<\/em><\/p>\n\n

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Synopsis<\/h4>\n\n

CNAP \u2013 Centre national des arts plastiques<\/strong>Tra i film in programma, una selezione di opere provenienti dalla collezione del Centre national des arts plastiques (Cnap) di Parigi, collezione ministeriale francese nata durante la Rivoluzione francese, frutto della ricerca sviluppata dalla curatrice Laura Lamonea nel 2023.<\/p>\n\n

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Meriem Bennani<\/strong>Party on the CAPS<\/em>2018Video HD, color, sound, 25\u201908\u201d<\/p>\n<\/div><\/div>\n\n

Party on the CAPS<\/em> takes place in a world transformed by biotechnological progress and teleportation, which has become the new means of transportation. A crocodile named Fiona recounts life on CAPS, an island located in the middle of the Atlantic Ocean, where refugees and immigrants who have crossed seas and borders in a manner deemed \u201cillegal\u201d are detained by the state.<\/p>\n\n

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Jordi Colomer<\/strong>Medina \u2013 Parkour<\/em>2013Video HD, color, silent, 3\u201905\u2019\u2019<\/p>\n<\/div><\/div>\n\n

The work was created during the artist\u2019s residency in Tetouan (Morocco), the former capital of the Spanish protectorate. The artist stages himself on the rooftops of the medina of T\u00e9touan. The temporary nature of the medina, inherent in its urban layout, also influences the multiplicity of forms and narratives that structure it. Colomer offers a reflection on the limits and uses of a space governed by unwritten laws.<\/p>\n\n

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Thomas Hirschhorn<\/strong>Deleuze Monument<\/em>2000Video Betacam SP, 30\u201922\u201d<\/p>\n<\/div><\/div>\n\n

Deleuze Monument<\/em> documents the project created by Thomas Hirschhorn in the Cit\u00e9 Champfleury neighborhood of Avignon, dedicated to the philosophy of Gilles Deleuze. Through the construction of a temporary monument and the direct involvement of residents, the video reflects on public space and community participation. The monument becomes a relational device, capable of fostering dialogue, sharing, and the collective production of meaning.<\/p>\n\n

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Florence Lazar<\/strong>125 hectares<\/em>2019Video HD, color, sound, 33\u201925\u201d<\/p>\n<\/div><\/div>\n\n

125 hectares is the area of land that has been illegally occupied since 1983 by a farmers\u2019 collective in Morne-Rouge, in northern Martinique. V\u00e9ronique Montjean, a founding member of the collective, recounts the history of the occupation, which began as a response to real estate development projects that would have reduced the island\u2019s arable land. The collective promotes subsistence farming based on biodiversity through the rotation of local crops, opposing the banana monoculture imposed by France, which has led to the pollution of soil and rivers due to the use of carcinogenic insecticides.<\/p>\n\n

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Randa Maroufi<\/strong>Le Park<\/em>2015Video HD, color, sound, 14\u2019<\/p>\n<\/div><\/div>\n\n

Le Park<\/em> is a slow stroll through an abandoned amusement park in the heart of Casablanca (Morocco). The film focuses on the young people who frequent this place. Randa Maroufi\u2019s camera captures, by surprise, groups of young people engaged in various activities, their movements seeming frozen in time.<\/p>\n\n

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Uriel Orlow<\/strong>Imbizo Ka Mafavuke (Le Tribunal de Mafavuke)<\/em>2017Video HD, color, sound, 29\u201952\u201d<\/p>\n<\/div><\/div>\n\n

The film is an experimental documentary set on the outskirts of a nature reserve in Johannesburg. It depicts the preparations for a people\u2019s tribunal in which traditional healers, activists and lawyers come together to discuss indigenous knowledge and bioprospecting. The pharmaceutical industry has come to regard traditional medicine as a source for identifying new bioactive compounds that can be used in the development of synthetic drugs. The film\u2019s protagonists take on different roles, whilst the ghosts of colonial explorers, botanists and judges observe the debates.<\/p>\n\n

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Haig Aivazian<\/strong>You May Own the Lanterns but We Have the Light<\/em>Ep. 1: Home Alone<\/em>, 2022, 12\u201936\u2019\u2019Ep. 2: Eyeshadow Dark as Night<\/em>, 2024, 10\u201943\u2019\u2019Ep. 3: Children of Darkness<\/em>, 2025, 20\u201935\u2019\u2019<\/p>\n<\/div><\/div>\n\n

The trilogy You May Own the Lanterns, but We Have the Light<\/em> consists of black-and-white short films created from cartoons and found footage, which have been redrawn, assembled and reanimated in collaboration with a team of animators in Beirut. The various sequences paint a picture of a city shrouded in darkness, where the inhabitants seek refuge in various forms of escapism. Drawing inspiration from the history of public lighting, the work considers artificial light not only as a means of illuminating the streets at night, but also as a mechanism of governance, in which visibility underpins surveillance, authority, and the staging and maintenance of social order in public space.<\/p>\n\n

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Ila B\u00eaka, Louise Lemoine<\/strong>The World in a square<\/em>2026Video HD, color, sound, 72\u2019<\/p>\n<\/div><\/div>\n\n

At first glance, Iman, Peter, Johanne, Kala and Elisa seem to have little in common. Political activism, astronomy, tattoos, cooking and babysitting are worlds that rarely intersect. What unites them is the fact that they all live in N\u00f8rrebro, Denmark\u2019s most socially and ethnically diverse neighbourhood. More than ten years ago, a park was created at its heart to bring the community together. Like a village square where the whole world converges, Superkilen quickly became a landmark and a vibrant hub of civic life. Over the course of a summer, B\u00eaka & Lemoine set up camp in the park to observe this global microcosm from within. In the film, they explore how the neighbourhood is shaped by migration, religion and politics, and examine how an intervention designed for a specific context can foster coexistence and enable people to collectively inhabit and redefine a shared space.<\/p>\n\n

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Ila B\u00eaka, Louise Lemoine<\/strong>24 heures sur place<\/em>2014Video HD, color, sound, 90\u2019<\/p>\n<\/div><\/div>\n\n

24 Heures sur Place<\/em><\/g> is a film-performance set in Place de la R\u00e9publique (Paris), forty years after Louis Malle\u2019s documentary on this famous square and just one year after the major regeneration project by the French architects TVK. The project has transformed this well-known and bustling crossroads into a new urban oasis for the city\u2019s residents. Standing next to the monument to Marianne, Ila B\u00eaka and Louise Lemoine filmed the square from dawn to dawn. They captured everything that can happen, over the course of 24 hours, within the physical space of a public square. The film is like a moving Polaroid. Amidst politics, love stories, work-related issues, worries and hopes, a dizzying collection of portraits takes shape, capturing the mood of the French capital. <\/p>\n\n

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Marta Innocenti<\/strong>L\u2019Assedio<\/em>202152\u2019<\/p>\n<\/div><\/div>\n\n

L\u2019Assedio explores the wild, collective, and transgressive ritual that draws over 200,000 spectators each year to the fields surrounding the Mugello Circuit during the Italian MotoGP Grand Prix. The film examines the tension between the freedom of breaking the rules and the limits imposed by the high barriers that surround the circuit.<\/p>\n\n

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Ugo La Pietra<\/strong>Il monumentalismo<\/em>1974Film 16 mm, b\/w, sound, 13\u2019<\/p>\n<\/div><\/div>\n\n

Filmed \u2018inside and outside\u2019 Milan Central Station, it uses this architecture as a model to reveal that, in the environment in which we live, there is almost never a relationship between space and its use. Identifying this \u2018disconnect\u2019 means expressing a critical stance towards architecture that refuses to embrace any \u2018vital\u2019 aspect, reducing itself to a \u2018monumental structure\u2019 incapable of accommodating the dynamics of human relationships.<\/p>\n\n

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Ugo La Pietra<\/strong>Interventi pubblici per la citt\u00e0 di Milano (Paletti e catene)<\/em>1979Ed. Triennale di Milano, film 16 mm, color, sound, 4:3, 6\u201929\u2019\u2019<\/p>\n<\/div><\/div>\n\n

The video work is a metaphorical critique of Milan\u2019s urban planning stagnation in the late 1970s. La Pietra features street objects and elements\u2014bollards, posts, and chains\u2014as symbols of a city that fails to break out of its own limitations and does not produce significant urban projects. <br\/> <\/p>\n\n

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Ugo La Pietra<\/strong>La riappropriazione della citt\u00e0<\/em>1977Ed. Centre Georges Pompidou (Parigi), film 16 mm, b\/w, color, sound, 4:3, 29\u201941\u2019\u2019<\/p>\n<\/div><\/div>\n\n

\u2018To live is to feel at home wherever you are\u2019 is the phrase with which La Pietra begins an anthological and provocative analysis that decodes urban suburbs and self-managed spaces, denouncing the impossibility of intervening in urban space and thus describing how to reclaim the city through a mental journey.<\/p>\n\n

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Ugo La Pietra<\/strong>La grande occasione<\/em>1973Ed. Triennale di Milano\/Abet Print, film 35 mm, b\/w, sound, 4:3, 13\u201942\u2019\u2019<\/p>\n<\/div><\/div>\n\n

The film, produced to mark the 15th Milan Triennale, was shot inside the Triennale building, which, when empty, conveys the sense of tension and anticipation felt by every artist \u2013 and by an entire generation \u2013 who spend their whole lives hoping for the arrival of that \u2018big break\u2019: a major exhibition at an institutional venue.<\/p>\n\n

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Ugo La Pietra<\/strong>Per oggi basta! (il Commutatore)<\/em>1974Film 16 mm, b\/w, sound, 14\u2019<\/p>\n<\/div><\/div>\n\n

The film explores the difficulties the artist encounters whenever he ventures beyond an established system. This concept is represented through the creation and use of an instrument (Il Commutatore, 1970) that allows him, in successive stages, to transcend the physicality of the urban environment and project himself toward the \u201cvoid.\u201d<br\/><\/p>\n\n

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Ottonella Mocellin e Nicola Pellegrini<\/strong>Alphabet. The space between us and the unkown<\/em>202129\u201903\u2019\u2019<\/p>\n<\/div><\/div>\n\n

The film stems from a reflection on the legacy of the Cold War on Asian diaspora communities in the West, while also exploring the artists\u2019 personal relationship with Berlin\u2019s Vietnamese community\u2014composed of two groups of people who arrived from a divided country to a divided country, and thus particularly symbolic of this legacy. By portraying their experience as Italian adoptive parents of a daughter and a son born in Vietnam, the artists explore the intersection of belonging, kinship, history, memory, and identity politics. The film documents a performance in an urban setting: traveling on a small boat, the artists and their family spend an intimate day in a public space, navigating Berlin\u2019s city traffic in search of an imaginary place where the lives of those who have been divided by history might ideally come together. <\/p>\n\n

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Caterina Erica Shanta<\/strong>En Ausencia<\/em>202126\u2019<\/p>\n<\/div><\/div>\n\n

In Central America, water is often contaminated and drinking water is a private commodity, governed by market forces just like any other commodity. The film was conceived and shot during Caterina Erica Shanta\u2019s research residency in Mexico City in June 2023. To highlight the political nature of water in Mexico, the artist launched an open call inviting people to share their dreams in which water featured as the main and recurring element. The film is therefore built around the narrations of those who took part in the project, recounting dreams of water \u2013 both marvellous and terrifying omens \u2013 set against the backdrop of the Xochimilco marshes, the last remnant of the immense Lake Texoco, which disappeared after the 1960s.<\/p>\n","protected":false},"excerpt":{"rendered":"

Fondazione Galleria Milano 19-22 November 2026 Screening program Thursday 19 november \u2022 h 18:00 \u00b7 Screening of films from the CNAP \u2013 Centre national des arts plastiques, ParisUriel Orlow, Imbizo Ka Mafavuke (Le Tribunal de Mafavuke)Thomas Hirschhorn, Deleuze MonumentFlorence Lazar, 125 hectaresJordi Colomer, Medina – ParkourRanda Maroufi, Le ParkMeriem Bennani, Party on the CAPS\u2022 h […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"_acf":"","footnotes":""},"class_list":["post-5348","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/videosoundart.com\/en\/wp-json\/wp\/v2\/pages\/5348","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/videosoundart.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/videosoundart.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/videosoundart.com\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/videosoundart.com\/en\/wp-json\/wp\/v2\/comments?post=5348"}],"version-history":[{"count":2,"href":"https:\/\/videosoundart.com\/en\/wp-json\/wp\/v2\/pages\/5348\/revisions"}],"predecessor-version":[{"id":5352,"href":"https:\/\/videosoundart.com\/en\/wp-json\/wp\/v2\/pages\/5348\/revisions\/5352"}],"wp:attachment":[{"href":"https:\/\/videosoundart.com\/en\/wp-json\/wp\/v2\/media?parent=5348"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}