Looking at our times through the prism of the moving image.
At Fondazione In Between Art Film, we foster dialogues between video, cinema, and performance, supporting artists and institutions whose visions cross the boundaries between creative disciplines.
NEWS
Sneak peak from the upcoming video documentation of CANICULA, where artist Lawrence Abu Hamdan expands on the making-of of his video installation “450XL: The Story of a Fugitive Sound”
“450XL: The Story of a Fugitive Sound” (2026) is a multichannel video installation by Lawrence Abu Hamdan. Through a choral approach of individual testimonies and reconstructions of the events that took place during a peaceful vigil in Belgrade on 15 March 2025, the work contemplates the political potential of silence and the use of sonic weapons designed to disperse forms of collective, non-violent resistance
CANICULA is open until November 22 at the Complesso dell’Ospedaletto in Venice and features 8 new site-specific video installations commissioned from Lawrence Abu Hamdan, Massimo D’Anolfi and Martina Parenti, Roman Khimei and Yarema Malashchuk, Janis Rafa, P. Staff, Wang Tuo, Yuyan Wang, and Maya Watanabe
Curated by @alessandro.rabottini and @leonardobigazzi
Scenography by @2050.plus
Video credits:
Directed and edited by @daviderapp
Filmed by @_giorgiodemarco_
Editorial Supervision and Project Coordination by @anninacastelli
Graphic Design by @lorenzomasonstudio
Wang Tuo’s “The Experimental Paradigm of Ownership and Autonomy” (2026) and Saodat Ismailova’s film “Melted into the Sun” (2024) are now on view at the 16th @gwangjubiennale curated by Ho Tzu Nyen with Che Kyongfa, @gahee_thepark, and Brian Kuan Wood. Congratulations, Tuo and Saodat!
Commissioned and produced for our current exhibition in Venice CANICULA, “The Experimental Paradigm of Ownership and Autonomy” by @buddhathugtuo is a fictional tale that addresses the tension between the individual experience of events and organised forms of political life. The fragility of the human body becomes a metaphor for the heterogeneity of collective memory, while the past, the present and the future are seen as caught in a perennial cycle of control and amnesia, fabricated truths and omissions
“Melted into the Sun” (2024) by @saodatismailova, which we commissioned and produced for our previous exhibition in Venice NEBULA, is a visual and poetic journey into the cultural and political echo generated across many centuries and geographies by the historical figure of Al-Muqannaʿ, an ambiguous prophet from eighth-century southern Central Asia with revolutionary ideas
Images: 1) Wang Tuo, The Experimental Paradigm of Ownership and Autonomy, 2026. Still. Courtesy of the artist; @blindspotgallery; Fondazione In Between Art Film; 2) Saodat Ismailova, Melted into the Sun, 2024. Still. Courtesy of the artist and Fondazione In Between Art Film
After its first iteration at Camden Art Centre in London, Karimah Ashadu’s solo exhibition “Tendered” opens September 12, 2026, at The Renaissance Society in Chicago with an artist talk at 4PM
“Tendered” is the second project launched under UNISON, a biennial initiative promoted by Fondazione In Between Art Film to commission and produce moving image–based exhibitions in partnership with international public institutions
Curated by Alessandro Rabottini and Leonardo Bigazzi with Myriam Ben Salah and Karsten Lund for its iteration at the Renaissance Society, the exhibition marks the US debut of the video installation “MUSCLE” (2025) as well as a series of new sculptures that draw directly from the film’s environments
“MUSCLE” is an intimate portrait of body builders in the heart of Lagos’ slums striving to attain a hyper-masculine ideal, continuing the artist’s research into issues of socio-economic independence and patriarchy within the context of West African culture and society. “MUSCLE” is commissioned and produced by @camdenartcentre, Fondazione In Between Art Film, and @rensoc
“Tendered” is accompanied by the first reference monograph dedicated to the artist, edited by @abinoppst, with @alessandro.rabottini and @leonardobigazzi. Published by @moussemagazine, it features contributions from Karimah Ashadu; @myriambensalah; Leonardo Bigazzi; @ginabuenfeld; @martinclark76; @cjnwonka; Alessandro Rabottini; Bettina Steinbrügge; and @areseuwuoruya
“Karimah Ashadu: Tendered” is presented in conjunction with the installation of the artist work “Machine Boys,” which we produced for the Biennale Arte 2024, at the @artinstitutechi, opening September 11, 2026
Karimah Ashadu: Tendered is supported by Sadie Coles HQ, London
Image credit: Karimah Ashadu, “MUSCLE” (still), 2025. Courtesy of the artist, Camden Art Centre, Fondazione In Between Art Film, @sadiecoleshq and The Renaissance Society at the University of Chicago
Sneak peak from the upcoming video documentation of CANICULA, where artist P. Staff elaborates on the deliberate attempt at destroying the cinematic field in their video installation “Terminal Lucidity”
“Terminal Lucidity” (2026) by P. Staff is a multimedia installation that switches between light and darkness, sounds and images. It conjures up the phenomenon of the title, being the brief reacquisition of memory and consciousness by people right before they pass away. The work deepens the exploration of terminal lucidity on the spatial and perceptual level, examining the distance between reality and hallucination
CANICULA is open until November 22 at the Complesso dell’Ospedaletto in Venice and features 8 new site-specific video installations commissioned from Lawrence Abu Hamdan, Massimo D’Anolfi and Martina Parenti, Roman Khimei and Yarema Malashchuk, Janis Rafa, P. Staff, Wang Tuo, Yuyan Wang, and Maya Watanabe
Curated by @alessandro.rabottini and @leonardobigazzi
Scenography by @2050.plus
Video credits:
Directed and edited by @daviderapp
Filmed by @_giorgiodemarco_
Editorial Supervision and Project Coordination by @anninacastelli
Graphic Design by @lorenzomasonstudio
For the 2026 edition of Floating Cinema – Unknown Waters, we will present two films from our Collection: @randa_maroufi’s “L’MINA” (2025) on August 29, 2026, and @jonathasdeandrade’s “Sisters with No Name” (2025) on September 11, 2026
Now in its seventh year, our collaboration with Floating Cinema – Unknown Waters is part of our ongoing commitment towards nurturing the culture of moving images on one side, and the city of Venice on the other. Part of this engagement is the the acclaimed series of exhibitions “Trilogy of Uncertainties,” whose latest chapter CANICULA is currently on view at the Complesso dell’Ospedaletto
Organized by @microclima_, Floating Cinema – Unknown Waters is a project curated by @edoardo_aruta, Alessandra Messali and Paolo Rosso, in partnership with TBA21–Academy/Ocean Space @tba_21 @oceanspaceorg, Pentagram Stiftung, Palazzo Grassi – Punta della Dogana – Pinault Collection @palazzo_grassi, Fondazione In Between Art Film, Peggy Guggenheim Collection @guggenheim_venice, Uzbekistan National Pavilion @uzbekistan_national_pavilion, Fondation Antoine de Galbert @fondationantoinedegalbert, LUMA Foundation @luma_arles
Images credit: 1-2) Randa Maroufi, L’MINA, 2025, still. Produced by @shatamataproduction and co-produced by Fondazione In Between Art Film, @tifawfilms, @dohafilm. With the support of: @afac.fund, @sharjahart Film Platform, @mecenesdusud, @fondationdesartistes, @ifmaroc, @cnapfr Image/mouvement. Courtesy of the artist and Fondazione In Between Art Film. 3-4) Jonathas de Andrade, Sisters with No Name, 2025, still. Commissioned by @dicasterycultureeducation of the Holy See (@conciliazione5 project) and produced by Fondazione In Between Art Film. Courtesy of the artist, Fondazione In Between Art Film, and @galleriacontinua.
Sneak peak from the upcoming video documentation of CANICULA, where filmmakers Massimo D’Anolfi and Martina Parenti reflect on the role of space in their first video installation “24 Landscapes + A Vision”
Massimo D’Anolfi and Martina Parenti make use of film archive material, selected from within their wide-ranging documentary practice. In “24 Landscapes + A Vision” (2026), these fragments are recomposed into a symphonic score on the dimension of human existence as a cycle of destruction and renewal. Anticipated by a corridor of blinding lights and a dark space, the three-channel installation is a non-linear, encyclopaedic reflection on the interweaving of film-footage technologies, historical forms of domination and devastation, and germinal fragments of life and resistance
CANICULA is open until November 22 at the Complesso dell’Ospedaletto in Venice and features 8 new site-specific video installations commissioned from Lawrence Abu Hamdan, Massimo D’Anolfi and Martina Parenti, Roman Khimei and Yarema Malashchuk, Janis Rafa, P. Staff, Wang Tuo, Yuyan Wang, and Maya Watanabe
Curated by @alessandro.rabottini and @leonardobigazzi
Scenography by @2050.plus
Video credits:
Directed and edited by @daviderapp
Filmed by @_giorgiodemarco_
Editorial Supervision and Project Coordination by @anninacastelli
Graphic Design by @lorenzomasonstudio
Sneak peak from the upcoming video documentation of CANICULA, where artist Yuyan Wang elaborates on her video installation “Boring Billion” and her affective weaving of found footage within
“Boring Billion” (2026) is composed of a multitude of video fragments found online, compiled by the artist into a new, complex narrative focusing on the relationship between human bodies and industrial machinery. Taking her cue from a consideration of the overloading of digital information, the artist puts together an inner meditation on the processes of relentless optimisation, updating and repair of machines, within the wider story of their inevitable destiny of deterioration
CANICULA is open until November 22 at the Complesso dell’Ospedaletto in Venice and features 8 new site-specific video installations commissioned from Lawrence Abu Hamdan, Massimo D’Anolfi and Martina Parenti, Roman Khimei and Yarema Malashchuk, Janis Rafa, P. Staff, Wang Tuo, Yuyan Wang, and Maya Watanabe
Curated by @alessandro.rabottini and @leonardobigazzi
Scenography by @2050.plus
Video credits:
Directed and edited by @daviderapp
Filmed by @_giorgiodemarco_
Editorial Supervision and Project Coordination by @anninacastelli
Graphic Design by @lorenzomasonstudio
Sneak peak from the upcoming video documentation of CANICULA, where artist Janis Rafa expands upon her video installation “Baby I’m Yours, Forever” and her research into the darker side of humanity
Conceived as an allegory of the idea of sacrifice, “Baby I’m Yours, Forever” (2026) is set in a meat refrigeration facility – a symbolic architecture for the industry that processes and distributes meat for human consumption. The work poetically widens this reflection and looks at the tension between life and death, survival and extinction, as well as at the ‘sacrificial’ violence that one life form demands starting from the killing of another
CANICULA is open until November 22 at the Complesso dell’Ospedaletto in Venice and features 8 new site-specific video installations commissioned from Lawrence Abu Hamdan, Massimo D’Anolfi and Martina Parenti, Roman Khimei and Yarema Malashchuk, Janis Rafa, P. Staff, Wang Tuo, Yuyan Wang, and Maya Watanabe
Curated by @alessandro.rabottini and @leonardobigazzi
Scenography by @2050.plus
Video credits:
Directed and edited by @daviderapp
Filmed by @_giorgiodemarco_
Editorial Supervision and Project Coordination by @anninacastelli
Graphic Design by @lorenzomasonstudio