The annual summer festival will conclude on Saturday, July 26th, with a video installation programme curated by Fabien Danesi, featuring works from the FRAC collection, as part of the Wonder Women Festival.
The event will take place at the Polo Bibliomuseale di Galatina from 9:00 PM to midnight
Shana Moulton - The Galactic Pot Healer, 2010
Video, color, sound, 9 min
FRAC NOUVELLE-AQUITAINE MÉCA
In The Galactic Pot Healer, Shana Moulton extends the introspective and offbeat world of her alter ego Cynthia, the central figure in the Whispering Pines series. Through a sequence of surreal scenes blending domestic footage, digital effects, and symbolic objects, the artist explores the tensions between wellness culture, consumerism, anxiety, and spiritual searching. Cynthia moves through an interior filled with self-care products, mended ceramics, and esoteric accessories. Each gesture, each transformation, appears driven by a desire to repair something—within herself or around her. This process takes strange paths: ambiguous rituals, mechanical movements, digital apparitions. Humor and discomfort coexist throughout, shaping a fragile world marked by vulnerability and self-invention. Loosely inspired by Philip K. Dick’s novel The Galactic Pot-Healer, the video moves away from science fiction to focus on the personal resonance of healing. Moulton weaves an internal narrative drawn from contemporary unease, improvised belief systems, and a highly distinctive visual language. The body, the home, and everyday objects become surfaces to be re-enchanted.
Pipilotti Rist - I’m not the girl who misses much, 1986
Video, color, sound, 5 min
FRAC OCCITANIE MONTPELLIER
I’m not the girl who misses much is Pipilotti Rist’s first video work and already sets the tone for her sensual and politically engaged practice. In a darkened room, the artist appears in a black dress, repeatedly chanting a phrase borrowed from the Beatles while performing jagged, spasmodic gestures. The image flickers, the sound warps, the pace quickens into a state of near-hallucination. This intense visual performance hovers between euphoria and disorder. Rist questions how female bodies are perceived, interpreted, and regulated. The video becomes a space of overflow, where voice, movement, and light refuse to stay confined. Through editing, overexposure, and sensory distortion, she constructs a hypnotic and unsettling experience. Far from parody or direct provocation, the work opens up a poetic and sharply critical vision of feminine subjectivity.
Dara Birnbaum - Technology/Transformation: Wonder Woman, 1978–1979
Video, color, sound, 5 min 50
FRAC ÎLE-DE-FRANCE
With Technology/Transformation: Wonder Woman, Dara Birnbaum creates one of the foundational works of feminist media critique. By appropriating footage from the television series Wonder Woman, she reshapes its visual codes to reveal the tensions between power, gender, and representation within popular culture. The video opens with Diana Prince’s iconic transformation into a superhero, looped, accelerated, and removed from any narrative context. This repeated gesture becomes an incantatory cycle, driven by an electrifying soundtrack. Through syncopated editing, Birnbaum doesn’t simply quote - she dismantles the mechanisms of spectacle to expose their ambivalence: liberation and confinement, self-mastery and stereotype. The work delivers a sharp critique of television imagery while tapping into its hypnotic and rhythmic potential. Rather than rejecting pop culture, Birnbaum exposes its fault lines, latent drives, and conflicted desires. Her intervention inaugurates a new video language, one that occupies dominant forms in order to shift their emotional and symbolic charge.
Caroline Poggi & Jonathan Vinel - La Fille qui explose, 2024
Video, color, sound, 9 min
In La Fille qui explose, Caroline Poggi and Jonathan Vinel follow a teenage girl on the verge of internal collapse. Silent and solitary, she moves through a world stripped of people and filled with disquieting signs, as reality gradually gives way to an overwhelming inner tension. Each shot balances tenderness and violence, drawing from both the aesthetics of video games and the melancholy of fables. The girl’s body becomes the surface on which an invisible conflict plays out — caught between despair, repressed rage, and a longing to escape. Poggi and Vinel continue their exploration of adolescent emotion, fractured storytelling, and dreamlike atmospheres shaped by loops, slow motion, and sudden breaks. The film doesn’t aim to explain — it envelops. It lingers like a silent scream, a fragile and explosive presence on the edge of expression.
Dana Awartani - Listen to My Words, 2020
Digital Video, color, sound, 12 min 57
In Listen to My Words, Dana Awartani weaves a dialogue between tradition and contemporaneity by reactivating the voices of Arab women poets from the 7th to the 12th centuries. Against a white background, an unseen hand slowly draws a geometric pattern inspired by jali and mashrabiya - traditional Islamic architectural screens. These motifs, while regulating light and air, also served to preserve women's privacy, symbolizing both protection and confinement. As the design unfolds, contemporary Saudi women's voices recite these ancient poems, expressing feelings of desire, pride, and self-assertion. The work becomes a resonant space where past and present converge, highlighting the continuity of women's experiences across centuries. Through this piece, Awartani examines social constructs and gender dynamics, using sacred geometry as a universal language. She offers a visual and auditory meditation on memory, resistance, and emancipation, inviting the viewer to engage in attentive and introspective listening.
Nadia Parfan - It’s a Date, 2023
Video, coolor, 5 min 53 s
Shot in a single continuous take at dawn, It’s a Date offers a swift journey through Kyiv in 2022, as war reshapes the city’s fabric. The moving camera plunges the viewer into a fast-paced ride through empty streets, where air-raid sirens and traces of conflict make tension visible. Inspired by Claude Lelouch’s C’était un rendez-vous, the film transposes that cinematic gesture into a contemporary state of emergency. The urgent motion feels driven by something essential - the need to reach another person. It ends in an embrace between two women, one in uniform, the other in civilian clothes. No words are spoken - only the image holds the promise of connection. It’s a Date affirms the persistence of desire amid devastation, the possibility of a meeting at the edge of disaster. A brief, taut film carried by love, velocity, and the insistence on living.