Alona Rodeh (Germany), Ana Edwards (Chile), Andrea Gudiño (Mexico), Carlos Franco (Puerto Rico/USA), Catalina Tuca (Chile/USA), Dakota Gearhart (USA), David Camargo & Amauta García (Netherlands/Mexico), Emilio A Rojas (Mexico), Eudes Vinicius (Brazil), Grant Robert Cutler (USA), Jemila McEwan (USA), Joseph Moore (USA), Kadir Kayserilioğlu (Turkey), Laura & Sira Cabrera (Spain), Mélia Roger (France), Xiaoyi Chen (China) 

Projected Ecologies is a video program organized with Joseph Wilcox and Lydian Stater (NY), featuring sixteen films from international artists exploring the global and emotional consequences of anthropocentrism. This series exposes the need for recalibration and balance between ecological systems through speculative methods, archival explorations, and personal histories. The works include artificial ecosystems, rewilding efforts, scenes of environmental destruction, and utopian visions of the future.

Control manifests in films like the surveillance-driven The Inhabitants to the microcosmic containment of The Walls of Heaven. Both films interrogate human intervention—whether through the omnipresent surveillance of animals or the artificial landscapes of a terrarium, where life is sustained but never truly free. Similarly, CORE DUMP and </> expose how technology, far from liberating, has instead generated new forms of anxiety—whether through the relentless accumulation of e-waste or the internet’s amplification of greed and self-obsession. Amidst this digital excess, films like Luma and The Visions of Karma take a different approach, exploring the act of searching as a form of resistance, embracing mystery rather than demanding resolution.

Elsewhere, abstraction and transformation shape new understandings of nature. Anima Natura and Arrullo both use experimental techniques, like stop-motion, textures, and soundscapes, to animate natural forces in ways that defy conventional representation. The idea of fluidity is embraced in Between Species, which works to collapse the divide between human and animal, and Life Touching Life, which touches on the spectrum between life and death. Identity, too, is informed by personal and social histories in films like The Departing Images and Açaí - Man from the hinterland, considering how dreams can communicate and how indigenous foods can shape cultural memory and belonging. 

Performance becomes another means of communication, with the Instruction for Becoming and The Wake using the body to learn from the land or to explore grief and loss. Sound operates as yet another force of elucidation—Ocean with Spirit Patterns and Dear Phonocene explore the sonic realm as a space for meditation, reclamation, and deep listening, reminding us that perception is not just visual but vibrational, felt as much as it is heard.

Ultimately, these films challenge dominant narratives of human exceptionalism, encouraging a deeper reflection on interconnectivity. Whether through poetic performance, experimental animation, or documentary approaches, they reveal the intricate, often fraught, relationships between humans, technology, and the natural world.

Jemila MacEwan (EE.UU). The Wake, 2019.

Catalina Tuca (Chile). LUMA, 2024.

David Camargo, Amauta García (Países Bajos / México). Arrullo, 2023.

Joseph Moore (EE.UU). The Inhabitants, 2014.

Alona Rodeh (Alemania). Core Dump, 2025.

Carlos Franco (Puerto Rico). </> , 2020.

Chen Xiaoyi (China). The Visions of Karma, 2024.

Laura y Sira Cabrera (España). entrEEspecies / Between Species, 2021.

Emilio A Rojas (México). Instruction for Becoming (Mountain) After Laura Aguilar, 2022.

Dakota Gearhart (EE.UU). Life Touching Life, Episodes 1-4, 2023.

Ana Edwards (Chile, Francia). La Partida de las Imágenes, 2023.

Kadir Kayserilioğlu (Turquía). The Walls of Heaven, 2024.

Andrea Gudiño (México). Anima Natura, 2024.

Grant Robert Cutler (EE.UU). Ocean with Spirit Patterns, 2024.

Eudes Vinicius (Brasil). Açaí - homem do Interior/ Açaí - hombre del interior, 2024.

Mélia Roger (Francia). Dear Phonocene, 2024.