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Io Sivertsen, Gabriele Cecconi, Ngadi Smart, Chloé Milos Azzopardi, Santiago Escobar-Jaramillo, Agnieszka Sejud

Gabriele Cecconi

Io Sivertsen, Gabriele Cecconi, Ngadi Smart, Chloé Milos Azzopardi, Santiago Escobar-Jaramillo, Agnieszka Sejud

Art_Inkubator, Tymienieckiego 3
15.06, 19:00
Fri - Sun 11:00 - 20:00
Mon - Thu 14:00 - 20:00
normal ticket: 20 PLN / discounted ticket: students, pupils, seniors 60+: 10 PLN / fullpass: 30 PLN / free entrance: children under 12, Mondays 19.06 and 20.6 in the Festival centre 1 (Art_Inkubator, Tymienieckiego 3)

Io Sivertsen 
Growing pains, thoughts on the climate crisis

Most of us find it hard to act. To associate the future with events occurring in real time. To grasp the dissonance between the rhetoric and actions of those in charge. By utilising a patchwork of imagery, sound and graphics, this film lingers between the feelings of hope, fear and worry for the future.

Driven by the director’s voice, a drifting stream of consciousness seemingly caught in a call and response with an unestablished voice posing as God, it is a complex narrative that confronts us with increasingly mundane doubts and worries. The ever increasing gap between concern and apathy. The disturbing contradiction between how we talk about the climate crisis and what we actually do.


Gabriele Cecconi

This visual exploration is a journey to another planet.Tiàwùk is a planet located in a quite close galaxy to us,it is small compare to the earth and the environmental condition are extreme but enough suitable for the adaptation of the human life. After years of astronomical observations humanity for the first time find another planet with human life.This planet is inhabited by 4 million people and only 2% of the land is cultivable. The real citizen are just 1 million and the other inhabitants are expats who are working there from others planets. According to our informations, the planet has been recently colonized and after many years, a secret source of energy was discovered:in small time has became one of the richness in the all universe. Part of the population,which has discovered recently the economical wealth,is suffering a psychological disorder which the symptoms can be find in a materialist and dystopian vision of their surrounding world. According to the theories of some of the most important terrestrial psychologists,we know as the exterior world we create and live is a reflection of our inner world and as the lack of inner awareness and the attachment are the sources of the suffering. Because of many causes, Tiàwùk shows us as capitalism and materialism can distort our vision of the life and the reality surround us. We thought we were the only one to have this problems, but Tiawuk’s discovery and exploration gave us the sense of the universality of the issue. We are not alone.


Ngadi Smart
Wata Na Life

Wata Na Life (Krio for ‘Water is Life’), is a phrase I heard time and again in Sierra Leone, a country where water is very much a currency. Commissioned by Wateraid and British Journal of Photography, I spent three months in the country of my heritage exploring the link between water and our changing climate. What I found were communities adapting as best they could to the fall-out from a climate-exacerbated water crisis, amidst corruption and lack of governmental planning.⁠ The project is a marked rejection of the “dehumanising” way developing African nations have historically been portrayed by Western media — I counter tropes of “poverty porn” with vibrant collage; celebrating the essence and identities of the people and places of Sierra Leone, blending each location’s scenery, portraits, and objects to form a more authentic representation than I felt any single photo could convey. I want Sierra Leoneans to look at this work and feel proud. That’s the most important thing.


Chloé Milos Azzopardi

Ecosystems is a futuristic fable in which identities become porous and metamorphoses possible, a research about how we can imagine new interspecies relationships.

For a long time, Western philosophy has done everything to distinguish humans from animals, nature from culture, to the point of thinking that we were outside the sphere of the living. Based on this observation I have created a fictional ecosystem that would exist after the Capitalocene. The term Capitalocene refers to a geological era that the Earth entered in the 19th century. It refers to the unprecedented environmental transformations triggered by human activity in overdeveloped countries. 

In this series, I projected myself after this era in order to create imaginaries able to go beyond the objectification of the living and to repair our relationship with it. I have explored the relationships between human and non-human beings, avoiding a prism of utility or servitude and seeking instead to identify the common forms that run through us.


Santiago Escobar-Jaramillo
The fish dies by its mouth/ El pez muere por la boca*

“El pez muere por la boca / The Fish Dies By Its Mouth” reflects on the resilience of communities in contexts of drug trafficking and fishing. The coast, where amphibious communities inhabit with long traditions of music, dance, hairstyles, games, and celebration, is under constant threat from paramilitary presence, violence, and drug trafficking.

Drug traffickers need access to the coast to get their product out to sea. During these trips in speedboats, they are intercepted by the Colombian Navy or naval force, and their way of escaping is to drop the cargo to make the boat lighter. Fishermen from towns such as Rincón del Mar in the Atlantic, or Bahía Solano in the Pacific, occasionally find packages that can mean a year’s income or one-week rumbas. Some succumb to this pressure, others stand firm in the face of the onslaught of illegality. Such macabre characters as Pablo Escobar or “Cadena” reigned in these lands and conditioned the daily life and rules of the community.

“El pez muere por la boca / The Fish Dies By Its Mouth” is a participatory and intervention project that involves the community in the creation of images. Everyday life intermingles with the construction of the scenes. Here, the performative act is confused with the swaying of reality, as a song to that undefined limit between sea and land, between legality and prohibition.

(Participatory and intervention project in fishing communities in Rincón del Mar & Bahía Solano, Colombia. 2016-2022.)


Agnieszka Sejud

The whole system is built on some kind of error. The foundations of humanity were poorly laid. And so I depart on a journey to search for other orders. I meet cyborgs, gods, angels and demons. I create a utopian vision of a world founded on friendship, empathy, love and respect for natural rhythms. A world of unrestricted freedom, where patriarchal systems perpetuating inequality of genders, discrimination and oppression are questioned and ultimately abolished. Here, the recurrent nature of life, death and rebirth intertwines with gender and sexual fluidity. And the changing seasons, moon phases, and cycles of birth and decay are a metaphor for the diversity and fluidity of modern identities.

The classic idea of mimesis is based on the assumption that art mimics reality. I am reversing this order – let the reality mimic art.



17.06, 16:00 guided tour | language: English