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‘All Islands Connect Under Water’ Film Screening

May 10 @ 7:30 pm - 9:30 pm

Close up of a shirtless man cradling a large fish to his face. In the background are trees and bushes.


An evening of moving image on the politics and poetics of water with works by Jonathas de Andrade, Leila Gamaz, Beatriz Santiago Muñoz, Juanita Onzaga and Chris Welsby. The programme will open with a new performance by poet and activist-scholar Nat Raha who will share work from her evolving project, aquasomatics.

The films visit a range of aquatic and oceanic ecologies fragmented by legacies of colonial rupture, military expropriation and rapid shifts in industrialisation. The films each use relational tactics that resist the material abstraction of waterways and sources, drawing forth a radical politics of scale, memory, guardianship and interdependency. The programme tunes into a range of stories that animate the cultural, spiritual and geopolitical dimensions of specific bodies of water with attention to the communities and relationships they sustain. Water is recentred by these artists as a vital life force and elemental disruptor that exceeds ownership.

Curated by Alaya Ang, Gabe Beckhurst Feijoo and Aden Solway. This event is supported by the British Art Network Emerging Curators Group (ECG) and takes place under the aegis of Confluence, an ongoing collective research project on the multiple contextual understandings around water as a political, historical and economic substance.

Please reserve your place here.

A slightly smiling person wearing glass and pink lipstick and matching pink checkered scarf, with a white winter fur hat, standing in front of the beachNat Raha
Live performance work

Dr Nat Raha is a poet and activist-scholar, based in Edinburgh, Scotland. Her work focuses on transfeminism, LGBTQ+ genders and sexualities, practices and collectives of care and social reproduction, racial capitalism and decolonization, and critical theory, across poetry, print cultures, art, politics, liberation movements and hi(r)story.


A black and white image of glistening sand, covered with grass on topBeatriz Santiago Muñoz
Black Beach/Horse/Camp/The Dead/Forces [Playa negra/Caballo/Campamento/Los muertos/Fuerzas]
2016, silent 16mm B&W, 8’

Black Beach was all shot in Vieques, Puerto Rico – an island that was used as a bombing range by the US Navy in Puerto Rico for 60 years, and that for the past 10 has been fighting for its decontamination. The film weaves together images of a man who cares for horses that roam the old target range; a black magnetite beach that is slowly eroding, an artist who has helped to resurrect a sacred tree which was once within the Navy’s gates and who has herself resurrected from illness more than once, a man who hopes his ritual movements return the island of Vieques to a cosmic balance – all of these are intertwined – land, toxic bomb, political work, celebration and death.

Beatriz Santiago Muñoz is taking a break from bios. Her work is represented by an artists’ cooperative ︎︎︎Sociedad del Tiempo Libre ︎︎︎based in San Juan, Puerto Rico.


A blurred watery landscape with light reflections and text ‘A fire made of water’Juanita Onzaga
Tomorrow is a Water Palace [El Mañana es un Palacio de Agua],
2022, Super 8mm & 4k digital, 15’

A lucid dream, an inner space sci-fi about Sybille, the last person alive on a planet with no water left. She roams through arid lands, traveling through strange visions. Entities with more memory than humans communicate with her. How to persuade the spirit of the waters to come back to earth?

Described by its director, Juanita Onzaga, as a work of ‘ancestral futurism’, this dizzying visual journey takes on the perspective of Sybille, the last woman on Earth, a planet where water no longer exists. She seeks to communicate with the spirit of water, a carrier and transmitter of more memory than humans could ever remember. (IFFR)

Juanita Onzaga (b. 1991) is a Colombian filmmaker and visual artist currently based between Brussels and Bogotá. In her films, Juanita combines fiction and non-fiction elements, touching the importance of memory, death and imagination, creating poetic tales that reflect different ways of perceiving reality within strong political contexts.


Close up of a shirtless man cradling a large fish to his face. In the background are trees and bushes.Jonathas de Andrade
The Fish [O Peixe],
2016, 16mm transferred to 2k, 23’

Located on the Northeast coast of Brazil, a village of fishermen enact a ritual of embracing the fish that they have caught. The affectionate hug that accompanies the ritual marks a passage of death and a relationship between species that is imbued with an ambiguous sequence of gestures of tenderness, violence and domination. The utopian dream of a harmonious community with its surroundings is a testament to the lack of connection between a man from the city and the nature that is at his service. Between fiction and reality, documentation and fantasy, the naturalness of domination hides the root of this relationship constituted by the constant exercise of strength, power and devotion. This film has been made with farmed fishes and a group of fishermen from Piaçabuçu and Coruripe, by the river São Francisco and the sea in Northeast of Brazil.

Jonathas de Andrade (b. Maceió, 1982) lives in Recife, Brazil. He works with installation, video and photographic research.


A rocky shoreline overlooking ocean with crashing waves and yellow tinged skyLeila Gamaz and Elodie Sacher & Younes El Hossaini (560Zoom)
From the Shores of El Jadida,
2021, video, 6’

The perception of Agar Agar/E406 (vegan gelatine), which is extracted from the red algae species Gelidium sesquipedale – commonly referred to as Red Gold – is framed by its popularity in the Global North as a sustainable resource and its subsequent high market value. As humans we often think of species in terms of our relationship to them, and based on economic terms, but what would happen if the algae could tell their own story?

Leila Gamaz is an Algerian-British artist who uses embodiment, ritual and archival research to share untold stories that create waymarkers for the diasporic journey of homecoming. She is a permanent studio resident at Pervasive Media Studios in Bristol. 

560Zoom is a media art project led by Elodie Sacher and Younes El Hossaini. The duo explores the creative potential of analog audiovisual hardware at the interface between images, circuits and society.


A ship sailing through the murky sea,  thick in the fog with glowing green lightChris Welsby
1994, 16mm film transferred to Bluray, 17’

Chris Welsby’s film offers a quiet vision of an ocean and its tenants. With little land in view – and very few landmarks from which to navigate from one space to the next – the picture plane is in continuous motion. On one level, as Welsby notes, ‘Drift is a film about the ocean, about winter light and about ships at anchor in a sheltered bay.’ However, he continues, ‘it is also a metaphor, an essentially filmic metaphor about time and space, about being and perception, a metaphor for the act of looking, looking at film and looking at the World.’

Chris Welsby (b. Exeter, 1948) is an artist and educator based in Canada. He began making landscape films and installations in the early 70s, and although he has used a range of mediums, he has consistently explored the problematic relationship between humans, human technology and the natural world.


  • The space is wheelchair accessible
  • There will be flashing lights in one of the films
  • There will be English subtitles when the spoken language is not in English
  • Comfy bean bags, snacks and refreshments are available
  • This is a relaxed screening – you are free to move around, enter and exit at any time

Please email [email protected] for arrangements you would like to discuss your access requirements.


May 10
7:30 pm - 9:30 pm


Centre for Contemporary Arts Glasgow
350 Sauchiehall St
Glasgow, G2 3JD
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Emerging Curators Group