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Iris Blauensteiner and Viki Kühn discuss the manuscripts behind their latest works—the yet unpublished novel „Wildes Fleisch“ and the feature-length documentary debut “Mein halber Vater“.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.
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
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
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.
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.
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.
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.
“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.
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.
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.
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.
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.
“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.
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.
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.
“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.
“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.
“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.
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.
“Indizien” (Indices) is the theme of the group exhibition and the Diagonale’22 festival trailer.
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.
We use the font “Suisse Int’l,” which was kindly provided to us by Swiss Typefaces.