Aline Motta (1974, Niterói, Rio de Janeiro) lives and works in São Paulo.In 1995, she received a BA in Communication Studies in Rio de Janeiro (UFRJ), and in 2004 she completed her studies in Film Production at The New School University in New York. Her practice employs video, photography, installation, text, collage and performance, reflecting on personal and collective memory, identity and ancestry. Her video installations are often accompanied by live performances. Her works have been exhibited and awarded at renowned art venues and film festivals in Brazil and internationally, and are included in important collections.More information: https://www.alinemotta.com

Ana Vaz is a Brazilian artist and filmmaker whose work explores the relationships between the self and the other, myth and history, through a cosmology of signs, references, and perspectives. Drawing on assemblages of filmed and found material, her films combine ethnography and speculation to explore the frictions and fictions embedded in both natural and built environments. She graduated from the Royal Melbourne Institute of Technology and Le Fresnoy – Studio National des Arts Contemporains, and was also a member of SPEAP (Sciences Po School of Political Arts), a project conceived and led by Bruno Latour.

Bouchra Khalili graduated in Film & Media Studies at Sorbonne Nouvelle and Visual Arts at the Ecole Nationale d’Arts de Paris-Cergy. Encompassing film, video, installation, photography, printmaking, and publishing, Khalili’s practice explores imperial and colonial continuums as epitomized by contemporary instances of illegal migration and the politics of memory of anti-colonial struggles and international solidarity. Deeply informed by the legacy of post-independence avant-gardes and the vernacular traditions of her native Morocco, Khalili’s approach develops strategies of storytelling at the intersection of history and micro-narratives. Combining documentary and conceptual practices, she investigates questions of self-representation, autonomous agency, and forms of resistance of communities rendered invisible by the nation-state model.

Camila Freitas (1983, Lauro de Freitas, Bahia) lives and works in Paris.
In 2007, the filmmaker graduated in Film from Universidade Federal Fluminense (UFF), in Niterói. In 2008, she specialised in cinematography at École nationale supérieure Louis-Lumière in Paris, subsequently working as a director of photography on short and feature films. In 2023, she completed an MA in Visual Arts at the Federal University of Rio de Janeiro (UFRJ). She is currently pursuing a practice-based PhD at La Fémis (Paris) with her thesis Livusias – Film Cartographies at the Margins of the Invisible, which investigates spectral presences, oral traditions and ecological transformations within a river island community in north-eastern Brazil. Since 2003, Camila Freitas has made four short films and one feature film, which have been screened and awarded at festivals in Brazil and internationally. She is currently developing her second feature film, Livusias, with the support of SP-Cine (São Paulo).
More information: https://camilafreitas.art

Dania Reymond-Boughenou was born in Algiers in 1982. Her family left the country in 1994, during the Black Decade, to settle in Marseille. There, she began her studies at the School of Fine Arts and later continued at Le Fresnoy – Studio National des Arts Contemporains. Her medium-length film Le jardin d’essai, shot in Algiers in 2016, has been presented at several festivals, including Angers, Brive, Cinemed, and Belfort, where it received multiple awards. Les tempêtes, her first feature fiction film, is currently in pre-production and will be shot in Algiers in 2022. Her work questions the potential fictional dimension of documentary.

Filipa César was born in Portugal in 1975; she lives and works in Berlin. She studied at the Faculty of Fine Arts in Porto and Lisbon, at the Academy of Arts in Munich, and obtained a Master’s degree in Art in Context from the Berlin University of the Arts (2007). Her work questions the relationship between moving images and their public reception. It engages with the fictional aspects of documentary and the political dimension of images, situating itself between chronicle, documentary, and experimental film.

Janaina Wagner (1989, São Paulo) lives and works in São Paulo after several years in France. She completed a BA in Journalism and Fine Arts in São Paulo (PUC-SP/FAAP) in 2012 and a PhD at Le Fresnoy – Studio national des arts contemporains, Tourcoing, France, in cooperation with the University of Lille in 2025. Known for her experimental approach, she integrates film, video, photography, drawing, installation, objects, scenography and painting to explore the boundaries between visual storytelling and spatial experience, and to discuss the limits and forms of control that human beings establish over their surroundings. Her works have been exhibited and awarded at renowned art venues and film festivals in Brazil and internationally, and are included in important collections.More information: https://janainawagner.com

Sónia Vaz Borges is an interdisciplinary militant historian and social-political organizer. She holds a BA in Modern and Contemporary History/Politics and International Affairs from ISCTE-IUL Lisbon, and a Master’s Degree in African History from the Faculty of Humanities of the University of Lisbon. She received her Ph.D. in Philosophy from the Humboldt University of Berlin.

Tony Labat (1951, Havana, Cuba). 
Labat emigrated to the United States in 1966 and currently lives in San Francisco. He received both a B.F.A. and an M.F.A. from the San Francisco Art Institute. Labat has received numerous awards, grants and fellowships from the National Endowment for the Arts; Film Arts Foundation, San Francisco; Open Channels, Long Beach Museum of Art; Artspace, San Francisco; and The Fleishhacker Foundation. Labat is currently a faculty member in the Department of Performance and Video at the San Francisco Art Institute. 

With ironic wit and incisive social critique, Tony Labat’s provocative, nonlinear narrative collages confront cultural identity, loss and displacement. Adopting an irreverent, often subversive stance, Labat represents the experience of difference and marginalization from the mediated position of the “outsider,” and deconstructs the codes by which the mass media reinforces cultural mythologies. In his idiosyncratic pastiches of performance, appropriated imagery and unexpected visual metaphors, Labat uses disguise, theatricality, storytelling and role-playing as narrative devices. In all of his video works, Labat uses low-tech video and performance as narrative strategies. At times poignant, at times satirical and assaultive, Labat’s fragmented narratives are unflinching articulations of the politics of cultural alienation.

Ulysses Jenkins (1946 - 2026, Los Angeles, California). 

Ulysses Jenkins studied painting and drawing as an undergraduate at Southern University in Baton Rouge, Louisiana, and later received an MFA in intermedia-video and performance art from Otis Art Institute (now known as Otis College of Art and Design). Prior to enrolling at Otis, from 1970-72 Jenkins worked with the Los Angeles County Probation Department, teaching art to nondelinquent youth, and in 1989, taught video through a gang-intervention program in Oakland. Jenkins is the recipient of numerous awards, including individual artist fellowships from the National Endowment of the Arts, and named first place in experimental video by the Black Filmmakers Hall of Fame in 1990 and 92. Jenkins served as Associate Professor in the Claire Trevor School of the Arts and an affiliate professor in the African American Studies program at the University of California, Irvine until his death in 2026.

Ulysses Jenkins’s video and media work is remarkable for its fusion of forms to conjure vibrant expressions of how image, sound and cultural iconography inform representation. Beginning as a painter and muralist, Jenkins was introduced to video just as the first consumer cameras were made available to individuals, and he quickly seized upon the television technology as a means to broadcast alternative depictions of African and Native American cultures—his own heritage—citing the catalyst of Melvin Van Peebles’s Sweet Sweetback’s Baadasssss Song (1971) and its call to black filmmakers to control their subject-hood by controlling the media depicting them.