Day Two of Ecology After Nature: Industries, Communities, and Environmental Memory, a moving image programme curated by Lukas Brasiskis. Marking a year since Glasgow hosted Cop26, the selection of twenty-two artists’ films focuses on the social and political effects of environmental issues and climate change. Screened over three days, with separate passes available for each day.

Day 2 includes Parts Two, Three and Four

Part Two | War Machines and Environmental Memories:

Flores
 Jorge Jácome
2017 26min 

Otros Usos
Beatriz Santiago Munoz
2014 7min 

Salarium
Sasha Litvintseva, Daniel Mann
2017 47min

Sirenomelia
Emilija Škarnulytė
2018 12min

The films in Part Two deconstruct the idea of the war machine and its infrastructures, focusing on the savage effect military ambitions have exerted on the environment. Erasing the boundaries between past and present, reality and dreams, these films critically examine entanglements of military and natural forces, proposing the war machine as a potential site of environmental memory.

Part Three | Decolonizing the Landscape: 

Flotsam Jetsam
David Kelley, Patty Chang
2007 27min 

Fordlandia Malaise
Susana de Sousa Dias
2019 40min 

water sleep II Akaike river under Xizang Road
Su Yu Hsin
2019 20min 

Landscape Series #1
Nguyễn Trinh Thi
2012 5min

How does one read landscapes across cultural boundaries and beyond colonial discourses of visibility? Part Three investigates various forms of dominant representations of landscapes and their invisible pasts. They invite us to reconsider the culturally specific dichotomies between the visible and the invisible, and ponder landscapes' relationship to identity and colonial power.

Part Four | Reading the Earth:

Medium Earth
The Otolith Group
2013 29min 

Single Stream
Ernst Karel, Toby Lee, Paweł Wojtasik
2014 23min 

Altiplano
Malena Szlam
2018 16min 

4 Waters-Deep Implicancy
Arjuna Neuman, Denise Ferreira da Silva 2018 30min 

Un-Pollute
Zlatko Ćosić
2017 3min

In the age of advanced technology, the earth could be read as if it were a script that needs to be interpreted—a trace of its own past and future. This recalls traditional beliefs in animistic nature and begs the question: What are the political implications of recognizing that everything—including rocks, garbage, polluted air, volcanic deserts, the oceans—is alive? The films in Part Four examine images of vibrant matter composed by a complex web of active bodies and materials.