SITUATIONS PROJECTIONS
9.
Untitled ( Monica Vitti)
Peter Welz,
Videoprojection on wood, metal, 2026
©Nathan Jungfer
While continuing to question how cinema functions today as an artistic medium, it is essential to examine how the very idea of "medium" has been transformed by the fundamentally hybrid and diffuse nature of the contemporary moving image. This approach requires fully embracing the spatial displacement metaphor inherent in the term "expanded cinema."
What Pavle Levi described in 2012 as the "homelessness" of the image now prevails: creation takes place across increasingly diverse sites — the movie theater, the art gallery, the fair, the phone screen, the computer, the television, the interactive space of video games... Thus, the inquiry is no longer an ontological one about the definition of cinema, but rather a reflection on its shifting position within a postwar transformed cultural landscape. In reframing the question posed by André Bazin, we no longer ask "What is cinema ?" but rather "Where is it ?"
SITUATIONS/PROJECTIONS is a projection and exhibition project dedicated to experimental films and contemporary filmic explorations. Positioned at the intersection of experimental cinema and contemporary art, it establishes a cycle of itinerant screenings and exhibitions that move between the gallery and the cinema, thereby creating a platform that geographically exemplifies the diversity of sites where the moving image is displayed. Between the white cube and the black box, SITUATIONS/PROJECTIONS offers a multiplicity of presentation formats that respond to the contemporary concerns of filmmakers. In response to a generation of artists increasingly working with hybrid forms — multi-screen projections, installations, proto-cinematic devices — the project participates in a broader movement of reinventing the conditions under which the image appears.
The concept of "exhibition cinema," as theorized by Jean-Christophe Royoux, serves here as a conceptual anchor for thinking about these contemporary practices. Originally used to describe artists' approaches that directly employed film material or played with cinematic forms in their work, this notion must now be reinterpreted in the era of digital technologies and "new images" — phones, networks, streams.
Contemporary exhibition cinema is no longer merely a reinvention of the traditional ritual of film reception in the movie theater; it is now shaped by technical and cultural mutations that are redefining our relationship to images in today’s cognitive capitalism. Historically, exhibition cinema disrupted conventional film reception by exploring alternative forms: multiple screens, projections on objects, immersive setups, looped films, and new modes of spectatorship. What remains of this subversion today? How can it be rethought in a context where the image has become more fluid, more ubiquitous, but also more unstable? The transformation of images and the uncertainties of the visible form the theoretical backdrop of this inquiry. What kind of relationship is established between gallery and cinema? How does cinema engage with the gallery space — and vice versa?
By revisiting the legacies of expanded cinema and exhibition cinema, SITUATIONS PROJECTIONS offers a hybrid experience that transcends disciplinary boundaries. The project follows a lineage stretching from the Videogalerie Schum (Düsseldorf, 1971) to the theoretical reflections of Andrew V. Uroskie (Between the Black Box and the White Cube) and Pavle Levi (Cinema by Other Means). It examines cinema in its shifting state, in its intermediary forms, and in its potential reinventions in the digital age.
Each occurrence highlights a selection of films and installations, accompanied by critical work produced by specialized film critics and academics which explores the aesthetic, technical, and conceptual dimensions of each piece. This critical engagement aims to enrich public understanding while fostering a dialogue between filmmakers and viewers.
Beyond theoretical reflection, SITUATIONS PROJECTIONSactively works toward the distribution and recognition of these films, offering their creators visibility and validation. In doing so, the project combines intellectual support with concrete assistance in building emerging artistic trajectories. Expanded cinema sought to break free from the norms of industrial exhibition and traditional spectatorship by reconnecting with forgotten models from pre-cinematic history and the early days of cinema. It positioned the cinematic event halfway between the immersive tradition of the black box of the movie theater and the more distanced perception characteristic of the gallery’s white cube. Through this cycle, we aim to geographically exemplify this aesthetic and conceptual shift.
10 rue des Ecouffes Paris
Front : Projectile, Thioro Thioye, 2025
Back : Untitled, Liza Alvares Zimmer
There is nothing for me in this house anymore
Thioro Thioye
Metal, paper, 2026
Victoria Schmidt
Video, 8min
LightCone
Peter Welz
Video Projection on wood, metal
2026