Sites of

Filmmaking is often used as a tool to understand and reshape the world. Students from Kingston School of Art and HEAD-Genève created a series of short films within a 24-hour period to document and reflect on sites of activism in London. These films animate often hidden spaces through discovery and contextualisation. They also comment and critique through the use of montage techniques such as mixing and cutting, contrast and overlay.

Do you
see it?

Filmmakers: Rachel Hoffmann, Pin Chieh Pan, Tommy Poiré, Meilin Wang

Do you see it? follows a person with mysterious notes as they hide them around various corners of a gallery. Through the camera, the film raises questions about the viewing experiences in the museum space.


Filmmakers: Wei-Han Chen, Alessandra Hoffmann, Shilpa Sivaraman

Delusion captures the behaviour of taking photographs in museums and explores how this affects the experience of art viewing.

Spaces of

Filmmakers: Rosalita Baldassin, Marijose Galvan, Sophie James, Haiyan Zhou

Spaces of Resistance is an exploration of how nine spaces in London have changed since their active role in the fight for social emancipation in the 1970s.


Filmmakers: Thomas Cerato, Misato Ehara, Etienne Kurzaj, Ruth Mitchell, Virgilio Paricio de Castro

Using montage techniques, MINUS shows the loss of queer spaces in London by juxtaposing footage of London’s thriving LGBTQ+ scene in the 1970’s and 1980’s with external shots of the now closed clubs.


Filmmakers: Noemi Castella, Jiaying Ke, Mufan Zhang

DIALOGUEDESOURDS reflects on street art and graffiti by scrutinising the contrast in these layers of work as a manuscript for social, political and cultural history. 


Filmmakers: Tanguy Benoit, Jongkyun Kim, Thomas Lopes, Zekun Wang

111silence records a small exhibition that documents 111 incidents of violence against females, displaying the shoes of the victims. 


Filmmakers: Lara De Araujo Machado, Julia Pelichet, Carmel Wilkinson-Ayre

#WOKE emphasises social media as a non-physical space for instant ‘activists’ through its satirical imagery and exaggerated, absurd use of props based on the emojis available on smartphones.