The communed guests will use the colloquium as a performative space to publicly weave together relationships across their work, sharing fragments of video and text from projects in-progress. Centered on how their processes of research are indistinguishably entangled with the politics of making films, threads will be traced between techno-scientific optics, intergenerational trauma, memory and modeled futures.

The three have been meeting once a month to create a network of support and collectively think through shared thematics of their ongoing projects: Blanca is currently developing her practice-led PhD on the geopolitics and spatial articulations of particle physics’ “Sensing Infrastructures”, looking at fundamental physics laboratories such as CERN and how they amplify material and political interactions. henry is working on a multi-channel video installation, investigating the use of the ocean as a stage for rehearsing scenarios of British imperialism and its resulting ecological devastation. Solveig has been shooting a film which recounts her mother’s career as an optical engineer. The story is complicated by a non-disclosure agreement signed with the Chinese state in 1987, where her work has been tracing around this absence of information, exploring the personal and gendered experience within structures of power that shroud optical technology. The session will expand on the meaning of a research-film practice and the importance of becoming-with-each-other and extending into many operations of time.

Making their films across archives, family homes and within techno-scientific institutions– the session will address how each space raises different questions about the act of filmmaking itself, and how accessing them in particular ways might disturb our notions of ethics, extraction, privacy, reputational capitalism, embodiment and empath. Other questions addressed include: How do we think about personal memory within larger constructs of time, entangled within broader socio-economic structures? How can cinema be used as a means to embody pasts and futures, in ways which may feel more present than being in those pasts and futures themselves? How might using moving images and narrative strategies critically engage with time that is not of progress or of capitalism moving forward, time that is against linear progression? The session will explore what it means to be living the futures (and pasts) of others, while attempting to inhabit a “thick present”.

#cinema #practice-led research #infrastructure


Talk & Screening/Reading between Blanca, henry, Solveig

Break (15 min.)

15:45–max. 17:00
General Discussion


henry bradley works across forms of expanded documentary. His socially engaged works draw on histories of theatre to investigate the performative conditions of contemporary labour and more recently ecological futures. Made through extensive collaboration his projects have been produced with groups of actors, volunteers, musicians, puppeteers and institutions. His current work centres around citizen, state and corporate preparation in the face of shifting ecological threats. The body of research explores how these ‘future’ ecological states are rehearsed and performed in the present, investigating government emergency planning, corporate training, and modelling techniques, as well as anxiety conditions, citizen premonitions and the use of sentinel species as pre-emptive tools.

In 2017 he graduated from the Centre for Research Architecture, Goldsmiths University, and since then has undertaken residencies and exhibitions internationally with Gasworks, London; New Creatives (ICA, London and BBC, UK); The Room Projects, Paris, and LUX, London; Centre for Contemporary Art, Leipzig; Fondazione Prada, Venice; Jerwood Arts, London; Kasseler DokFest, Kassel, among many others.

Blanca Pujals is an architect, spatial researcher and critical writer. Her cross-disciplinary practice uses spatial research and critical analysis to engage with questions around the geographies of power on bodies and territories, and spatial configurations of contemporary techno-scientific infrastructures, developing tools for undertaking analysis through different visual and sonic devices. Her work encompasses film, architecture, lecturing, curatorial projects, teaching and critical writing.

She got her BA in Architecture at Barcelona School of Architecture. She completed her studies with a MA in Critical Theory and Museum Studies at the Independent Studies Program of MACBA Museum, tutored by the philosopher Paul B.Preciado. She is a postgraduate at the Centre for Research Architecture (Visual Cultures Department) at Goldsmiths University of London. She has developed projects in Antarctica, Colombia, Iraq, United Kingdom, Afghanistan, Spain, Italy, US or Switzerland.