Hamedine Kane

On 29 April 2006, a twenty-foot boat was spotted off the south-eastern coast of Barbados. On board, eleven bodies were found by coastguards, preserved and sun-dried. The ghost ship had been drifting for four months on the Atlantic Ocean. The film presents an inadequate narrative of a story that relies on media sources to evoke the complicity of the weather, ocean currents, and state violence in the ship’s journey. The glide between film and forms tests the measurement of tragedies related to crossings and immigration, highlighting the power of the sea and the horror of the figure of the ghost ship.

The Blue House, is an artistic and sublimation approach of a migrant who lives in the Jungle of Calais. It is a chronicle of the life of a nomadic artist, constrained to immobility. It is an attempt to leave traces on ports, enclaves, deltas, borders, transformed into places of desolation and detention. A refugee is a person who resists disappearance. Alpha explores the world through his art. It is a journey between two journeys, between two worlds. It is a journey to overcome. It's a journey to end the flight.

The three-channel video installation The School of Mutants stages a radio interview in a fictional and uncertain time. Two characters talk about how to inhabit the territory. Their discussion seems to resonate with the landscape of brutalist and industrial ruins that surrounds them. A tension arises, between doubts and questions about their vision of the future. In contrast to the fatalism of one, the other argues that the ruins are a shelter for organising a common life and breaking the cycle of political disillusionment. Oscillating between cinema of the real and futuristic speculation, the work leads us into a poetic and political reflection on the mutations of the world.