WHEN?

White light is made up of all colours. The compilation of film and video works follows a chain of visual associations that interprets moving images as a space for artistic self-empowerment. The range of performative and documentary approaches demonstrates the appropriation of urban and museum spaces as well as landscapes, establishing relationships through lines of sight and gestures, and generating new modes of perception through the editing of found footage.

White Light II was conceived for Vienna Art Week (2018) and presented at Medienwerkstatt Wien.

Online Screening every night from 13.11. until 23.11.2026 at 7pm (local time)

↗︎ ONLINE SCREEN

The screening explores questions of visibility, vision and perception, as well as their aesthetic dimensions. What does it mean to deconstruct vision, and what might become visible in the process of dismantling? How do we perceive and relate to the world around us without sight? How do architecture and different perspectives shape our gaze, the perception of ourselves and our understanding of the world?

Bringing together works by an emerging generation of artists based in Austria at the time, Vanishing Points was curated on the occasion of the Limited Access Festival (2014) in Tehran following the invitation of Amirali Ghasemi.

Online Screening every night from 30.10. until 9.11.2026 at 7pm (in your local time zone)

↗︎ ONLINE SCREEN

Against the backdrop of political, social, and economic crises in Iran since 2009, seven female documentary filmmakers have collectively created a kaleidoscopic account of their work, consistently focusing on the relationship between the personal and the political.

Online Screening every day between 16–25/10/2026 at 7pm (in your individual time zone)

↗︎ ONLINE SCREEN

ONLINE Q&A with SHIRIN BARGHNAVARD and SAHAR SALAHSHOOR, moderated by Marlies Pöschl, 24/10/2026, 12:00pm (UTC+2/CEST)

Zoom-Link: https://us06web.zoom.us/j/87938533361
If you have trouble joining the meeting, reach out to marlies.poeschl@goldenpixelcoop.com

The screening series “Framing Collective Action” presents artistic and documentary films created within collective structures. By linking historical and contemporary examples, the series explores the potentials of collective filmmaking through diverse aesthetic approaches. Each film program focuses on a specific spatial context (House, Street, Land) and examines the political and social impact of collective filmmaking both in front of and behind the camera, within and beyond the frame.

Human-shaped landscapes are often reflections of social desires—for solitude and quietude, but also for resources and control. The four films that make up this program explore different forms of landscape exploitation while revealing how anthropocentric environmental transformations are intrinsically entangled with social, political, and historical issues. In the last program of this series, “Land”, the collectively produced films develop different cinematic strategies to deal with the continuity of environmental racism, feminist labor struggles, colonial traces, and indigenous knowledge. The journey of this group of films takes us from the sugarcane fields of Jamaica to burial grounds in the US that are now used as petrochemical plantations, from stolen flora and fauna seeded in Spain to the surviving ancestral Nahuatl floating gardens in Mexico.

↗︎ ONLINE SCREEN

The screening series “Framing Collective Action” presents artistic and documentary films created within collective structures. By linking historical and contemporary examples, the series explores the potentials of collective filmmaking through diverse aesthetic approaches. Each film program focuses on a specific spatial context (House, Street, Land) and examines the political and social impact of collective filmmaking both in front of and behind the camera, within and beyond the frame.

Time and again, the street serves as a stage for social struggle. While it is used everyday as an infrastructural space, it is only through collective and physical occupation that it becomes a public arena where socio-political demands can be voiced. This is shown in the three selected short films of this program, “Street”, which span different times and places—from 1983 to 2021, and from Georgetown to Kinshasa and Vienna. The films take varied approaches to dealing with the street, at times performative, documentary, theatrical, or activist. In doing so, they document actions that expose the lasting legacies of colonialism and anti-Semitism while also opening up possibilities for change.

↗︎ ONLINE SCREEN

The screening series “Framing Collective Action” presents artistic and documentary films created within collective structures. By linking historical and contemporary examples, the series explores the potentials of collective filmmaking through diverse aesthetic approaches. Each film program focuses on a specific spatial context (House, Street, Land) and examines the political and social impact of collective filmmaking both in front of and behind the camera, within and beyond the frame.

“House”, the first iteration of this series, brings together three short films which frame collaboration and action within a domestic building—simultaneously opening up and critically interrogating the notion of home. Through this selection of audiovisual works, the house reveals itself as an impermanent shelter, a site with questionable borders, and a space that invisibilizes the working conditions of those that must maintain it. Yet, as these films from India, Ukraine, and Brazil demonstrate, this very same house can serve as a place from which collective action might emerge.

↗︎ ONLINE SCREEN

In documentary and experimental formats, a cinematic conversation between Vienna and Los Angeles is revisited and continued in a newly curated program.

With films by Victoria Fu, Juan Pablo González, Luis Gutiérrez Arias & John Henry Theisen, Adele Horne, Claudia Larcher, Brigid McCaffrey, Sasha Pirker & Lotte Schreiber, Raphael Reichl, David de Rozas and Katharina Swoboda

↗︎ ONLINE SCREEN

Images of landscapes travel across our screens every day. But where are these images stored? How do they reach us? How large is their ecological footprint?
“Techno Scapes” examines the material conditions of these seemingly disembodied images. The films make visible the sites and infrastructures underlying their storage and distribution, and explore the invisible landscapes behind, above, and beneath the real ones.

With films by Enar de Dios Rodríguez, Nathalie Koger, Simona Obholzer, Marlies Pöschl, Katharina Swoboda and Lisa Truttmann

↗︎ ONLINE SCREEN

After twelve years of continuous work with and about moving images, the cooperative looks back: from the roughly one hundred projects carried out to date, the cooperative has selected ten moving-image projects to be screened again.

From 24 July to 7 December 2026, the selected programmes will be screened daily from 19:00 on the Golden Pixel Online Screen.

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↗︎ Online Screen

The online symposium “Screen Matters – The Screen as a Place of Work” is dedicated to the various screens that surround us, as well as the working practices to be found on and behind their surfaces. As the fundamental infrastructure of this symposium, the screen becomes not only a space of production, presentation, and communication, but also an object of theoretical and artistic investigation.

The online symposium “Screen Matters – The Screen as a Place of Work” was conceived in 2022 as an artistic-experimental online format in response to the pandemic, and will be streamed daily from 19:00–23:00 on the Golden Pixel Online Screen from 24 July to 3 August 2026, as part of “12 Years of GPC – Revisited”.

↗︎ ONLINE SCREEN

Podcast

“GPC Talks (#5): On Writing With and Through Images”:
Iris Blauensteiner and Viki Kühn discuss the manuscripts behind their latest works—the yet unpublished novel „Wildes Fleisch“ and the feature-length documentary debut “Mein halber Vater“. In resonance with the conversation, Adina Camhy composed a fantastic jingle as well as additional sound elements.

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Online Screening

“GPC STREAMS” is a series of online screenings that take as a starting point one artwork by a member of The Golden Pixel Cooperative, which is combined with artworks by international artists. This time, a video work by Pille-Riin Jaik will be paired with films by Kamal Aljafari and Calderón & Piñeros (La Decanatura). 20.–27.11.2025, everyday 21:00-21:48

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Workshop with Petra Bauer on deep listening and storytelling in artistic practice.

What does it mean to listen with care — to each other, to images, to the unsayable? In this three-hour online workshop, artist and filmmaker Petra Bauer invites participants to explore listening as a method, an ethics, and a form of resistance. Drawing on the writings of Pauline Oliveros, Tina Campt, and Walter Benjamin, the session combines collective exercises in somatic tuning, shared silences, and storytelling. Together we will practice listening not for answers, but for openings.

Places are limited to 15 people. Please register by October 28 at: nathalie.koger@goldenpixelcoop.com

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As part of the “Metod Talks” at SIGNAL – Center for Contemporary Art in Malmö, Nathalie will present the Golden Pixel Cooperative’s collective film “Half of the Sky” (2020) – a tribute to the often overlooked Bauhaus artists and a tribute to other queer-feminist role models and emancipatory practices. Building on this, she will also explain the organizational structure of the cooperative and highlight some of its discursive formats.

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↗︎ SIGNAL – Center for Contemporary Art

On November 2nd, a day that marks the beginning of dispossession and colonization for Palestinians through the anniversary of the Balfour Declaration, and as part of the global network of screenings standing in solidarity with Palestine, Palestine Cinema Days Around the World 2025, we are hosting a screening of “The Dupes”, a film that follows the lives of three Palestinian refugees in the aftermath of the 1948 Nakba.

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︎ VBKÖ – Association of Austrian Women Artists

The screening program “Echoes of Silence” evolved from an artistic exchange between Nathalie Koger, artist and member of the Golden Pixel Cooperative, the Swedish artist Johanna Billing and Art Lab Gnesta. “Echoes of Silence” raws inspiration from Johanna Billings’ preoccupation with the interplay of sound and silence – as forms of resistance and as tools for conscious listening. The program further examines silence through the lenses of memory, architecture, and identity, employing a variety of artistic approaches.

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↗︎ Art Lab Gnesta

The screening series “Framing Collective Action” presents artistic and documentary films created within collective structures. By linking historical and contemporary examples, the series explores the potentials of collective filmmaking through diverse aesthetic approaches. Each film program focuses on a specific spatial context (House, Street, Land) and examines the political and social impact of collective filmmaking both in front of and behind the camera, within and beyond the frame.

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↗︎ mumok kino

“Unha Imaxe, unha Foresta (One Image, One Forest)” is a curated film program that presents works by GPC at the Kunstraum Normal in A Coruña (Spain). Before the screening, a public presentation will introduce The Golden Pixel Cooperative’s activities, interests, and goals to a Spanish audience.

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↗︎ Normal – Espacio de Intervención Cultural

The screening series “Framing Collective Action” presents artistic and documentary films created within collective structures. By linking historical and contemporary examples, the series explores the potentials of collective filmmaking through diverse aesthetic approaches. Each film program focuses on a specific spatial context (House, Street, Land) and examines the political and social impact of collective filmmaking both in front of and behind the camera, within and beyond the frame.

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↗︎ mumok kino

Screening, Talk

Since 2023, filmmaker and artist Lotte Schreiber has been curating the FOCUS ON film series at the Breitenseer Lichtspiele cinema. She offers artists a platform to present their works in solo programs. With “Redirecting the Focus: Lotte Schreiber”, The Golden Pixel Cooperative proposes a shift in perspective, turning the screen toward Lotte Schreiber’s own experimental documentary films. Both film programs will be followed by a Q&A.

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The temporal paradox between obsolescence and promise, ruin and construction, as well as the maintenance of a system and its sabotage, becomes evident through the three films that compose “Next Stop,” whose protagonists are railways systems in Austria, Spain, South Caucasus, and Caspian regions.

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↗︎ GPC Online Screen

While film images are bound to a fixed timeline, photography and painting allow viewers to determine their own pace of perception. Today, digital media enable us to manipulate filmic chronology—by skipping, repeating, or accelerating scenes. Similarly, in the exhibition space, individual timelines emerge through the free movement of visitors. “Elastic Chronologies” explores this interplay of time, motion, and image in works by Simona Obholzer, Marlies Pöschl, Olena Newkryta, Pille-Riin Jaik, Daniel Hüttler, Klaus Rabeder, and Janina Weißengruber.

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↗︎ Medienwerkstatt Wien

“GPC STREAMS (#4) Vienna Plays Itself” presents works by three feminist filmmakers and artists, each with a linking thread: Vienna. These artists have all studied, lived and worked in Vienna and their works reflect on their experiences. Through the artist’s different critical approaches, also towards image production, we witness encounters and struggles with identities, bodies, and art politics.

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↗︎ GPC Online Screen

Behind every screen, every piece of digital information, every exchange of data lies a complex arrangement of material and work. It includes not only mined minerals and electrical grids, but also visible and invisible workers. This hidden work sometimes appears as a hand dismantling something, as an eye looking at endless sequences of images, or as an ear listening to the noise of fans. The group exhibition “out of office” is an attempt to shed light on the subject this time by presenting artistic works in a speculative setting – a coworking space that is recreated by the aesthetics of the exhibition design.

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︎↗︎ Medienwerkstatt Wien

The film program “Plants as a Site of Knowledge” collects stories about the relationship between plants and memory: observations on how socio-political and economic interdependencies influence the history of ecosystems. What kind of memory do plants carry with them? To what extent are they part of cultural memory? Can time be turned back in ecosystems and if so, what (political) implications does this have? The films shown in this compilation deal with plants that are separated from their environment in the service of colonial representation or economic interests in order to circulate or be cultivated elsewhere.

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↗︎ Flucc Vienna

“A Succession of Waves” embraces the impossibility of comprehending the inexhaustible swell by presenting three attempts to represent it through film. First, in Obholzer’s “2 days left”, the wave has been constructed artificially: an anthropogenic leisure trick captured through a rather abstract succession of moving images. In the second attempt, Wang’s “One Thousand and One Attempts to Be an Ocean”, a hasty succession of scenes becomes overwhelming, a flood that reminds us of infinite scrolls and latent threats. The last example, “The Ship is Sinking” by Stracke & Seibt, goes back to a moment of quietness, where the “The Raft of the Medusa”, a magnificent symbol of human’s wrecked horizon, is reenacted by collapsing two planes and materialities into one.

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↗︎ GPC Online Screen

“Unearthed Foundations” presents three disparate but equally poignant video pieces that deal with specific mined materials and the utilitarian realities that have been ascribed to them. Despite their contrasting approaches—an observational piece, a critical satire and a film essay—these works look upon mineral exploitation with a critical gaze. Sometimes ironic and performative, sometimes documentary and poetic, sometimes quiet and elastic, this program hopes to broaden perspectives on the rocks that have been unearthed in order to shape, construct and support the present moment.

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↗︎ GPC Online Screen

“The beginning is the end is the beginning” is a selection of audiovisual works that interact with ruins in different locations (a Soviet residential building in Oleksandrivka, the now demolished National Theater in Tirana and Glory’s nightclub in Ibiza). These interactions, conceived from different personal perspectives, enable the rupture of linear time: past, present or future become uncertain and may even take place simultaneously.

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↗︎ GPC Online Screen

In this film programme, selected cinematic works by current and former cooperative members are set in relation to experimental films by British artist Sandra Lahire.

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↗︎ Diagonale ’22

“Indizien” (Indices) is the theme of the group exhibition and the Diagonale’22 festival trailer.

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︎↗︎ Kunsthaus Graz

From film on the façade via the word: both a medial as well as formal transgression, The Golden Pixel Cooperative refers to two of their artist film works.

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︎↗︎ Kunsthaus Graz