DISK

Memory is not a stable archive but a shifting reconstruction, built from fragments of past experiences, present sensations, and imagined futures. DISK brings together films that probe memory as an unstable image: corroded, re-enacted, distorted, or quietly resurfacing through bodies, technology, and landscape. The works move through toxic labour histories, lost digital traces, improvised objects of war, future memories recalled by children and the marks global commerce leaves on the land. Together, they question how memory is stored, how it erodes, and how images constantly get re-adapted to interpretation.

FILMS:
The Cleanroom Paradox
by Felix Lenz, Angela Neubauer, Eszter Zwickl
Austria, 2021, 11’03”
Dismantling the deceptively pristine image of the high-tech industry, The Cleanroom Paradox unveils the systemic suppression of information on occupational and toxic hazards at semiconductor production sites. Jin is a former Samsung factory worker whose employer failed to acknowledge the lack of adequate precautionary health measures during work procedures. Analogous to the industry’s etching processes, the toxic agent corrodes the print over time, skinning a surface in which lower layers Jin’s story is already inscribed. Fates like Jin’s are not isolated cases and can be traced across the industry in the Eastern as well as Western Hemisphere.

Sol e Sorte
by Helena Estrela
Portugal, 2022, 4’24”
On a summer’s dawn, we see the sunrise translate into landscape, and give place to a game between shapes, colors and riddles.

Into The phfff
by Javier R. Pérez-Curiel
Spain, 2024, 10’
This video is activated through the movement of a finger- an everyday gesture that becomes a choreographic rehearsal. The finger slides the image as if exerting power over it; however, this gesture is conditioned by predefined rules embedded in the structure of the device, which imposes its own patterns. The frame functions as a screen, and the motor is the body, with its organic rhythms. The work is built from and around the relationship between body, image, and control.
Different digital platforms are used as a stage for the images that compose the video. Some of these were created collaboratively within the framework of the Kitchen presentations at the Dutch Art Institute, in November 2025, at PAF.

Improvised Objects
by Katja Verheul
The Netherlands, 2021, 9’36’’
An inquiry into what remains after war, focusing on the improvised explosive device, still the deadliest weapon despite advanced military technology. A study of how violence persists through ordinary materials. Katja Verheul conducts artistic archeology, digging through contemporary history before it is overcome with nostalgia.

Synopsis Nopla Net B
by Nada Gambier
Belgium, 2023, 9’53’’
A group of children remember a time when they were adults. They remember events and retrace them. What remains is a strange collage of preparation, re-enactment, re-membering, inventing. Time is twisted to go both backwards and forwards.
This video is a trace from the research project True Fiction (2021-23) in which artist Nada Gambier explored ways in which fiction and reality merge and collide in creative processes. Here she is accompanied by her colleagues and a group of children who partook in a two-day workshop in Antwerp, in Belgium.

Red Giant
by Sam Mountford
Andalusia, 2024, 9’29’’
Field diary from first stop on intercontinental road trip. How do the boom-bust fluctuations of global trade and commerce manifest at the sites of extraction?

Paadmaan is a curatorial platform dedicated to dialogue and exploration, connecting art and science to deepen our understanding of changing environmental and human conditions. Through transdisciplinary programs and collaborative research, it creates spaces for collective learning and public engagement. Founded by artist and researcher Foad Alijani, whose practice centers on memory, perception, and the meeting points of inner and outer worlds, Paadmaan has operated since 2018 as a site for experimentation, reflection, and shared inquiry.

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