e-flux Film Award Ceremony: Inaugural Edition

Maurício Chades is an artist and filmmaker from Brazil. He holds a BA in Cinema Studies and an MA in Art and Technology from the University of Brasilia, and an MFA from the School of the Art Institute of Chicago. He has participated in collectives such as Espaço AVI, Kinofogo Cineclube, and NINHO – Collective for Research in Art, Interactivity, and Agroecology. His works, in film, installation, sculpture, and performance have speculated about symbiotic, queer, and anticolonial futures. Through fiction, he strives to blur the separations between city, countryside, and forest. Envisioning syntropic environments and multispecies alliances, his art practice combines storytelling with restorative agriculture, composting, and fungiculture. His works have been shown worldwide, including at Queer Lisbon, Curitiba International Film Festival, and FILE – Electronic Language International Festival. In 2019, he presented his first solo show, Pyramid, Urubu, at The Brasilia Digital TV Tower, receiving the Frankenthaler Climate Art Awards in 2022. Chades was featured at the Biennial Videobrasil, and is currently a visiting artist at The Metabolic Studio in Los Angeles.

Eri Saito is a Japanese visual artist living and working in Tokyo. Born 1991 in Fukushima. She graduated from the Wako University Department of Arts, Faculty of Representational Studies, in 2015. Focusing on video, Saito creates works themed on such invisible and uncertain dynamics as memory and cognition. Her recent exhibitions include WVlog: Personal (Art Center Ongoing, Tokyo, 2022), Until It Gets Dark (Tokyo Metropolitan Art Museum, 2021), Glory of 2020 (Yumi Adachi Contemporary / Awoba Soh, Tokyo, 2020), and 1GB (Spiral Hall, Tokyo, 2020). Her video works have been shown at the 40th edition of the International Festival of Films on Art – Le FIFA (Montreal, Canada, 2022), Yebisu International Festival for Art & Alternative Visions (Tokyo Photographic Art Museum, Tokyo, 2022), Image Forum Festival (Theatre Image Forum, Tokyo, 2020), and The Movie Theater Floating on the Sea (Kanagawa, 2019), among other places.

Bo Wang is an artist, filmmaker, and researcher based in Amsterdam. He holds a BS in Physics and Mathematics and an MS in Physics from Tsinghua University, Beijing, and an MFA in Photography, Video, and Related Media from the School of Visual Arts, New York. Currently, he is a PhD candidate at the Amsterdam School for Cultural Analysis, Universiteit van Amsterdam. Wang’s works have been exhibited internationally, including at the Guggenheim Museum and Museum of Modern Art (New York), Garage Museum (Moscow), International Film Festival Rotterdam, CPH:DOX (Copenhagen), Image Forum Festival (Tokyo), Visions du Réel (Nyon, Switzerland), LUX & Open City Documentary Festival (London), DMZ Docs (South Korea), and Para Site (Hong Kong), among many other places. His film An Asian Ghost Story won the New:Vision Award at CPH:DOX 2023. He received a fellowship from the Robert Flaherty Film Seminar in 2013, and was an artist-in-residence at ACC-Rijksakademie from 2017 to 2018, as well as at NTU CCA in 2016.

Anocha Suwichakornpong is a filmmaker whose work is informed by the socio-political history of Thailand. Her films have been the subject of special focus screenings at the Museum of the Moving Image, New York; TIFF Cinematheque, Toronto; and Harvard Film Archive. She is a co-founder of the Bangkok-based production company Electric Eel Films. In 2017, together with Visra Vichit-Vadakan and Aditya Assarat, she founded Purin Pictures, an initiative to support Southeast Asian cinema. She teaches film at Columbia University.

Lukas Brasiskis is a Curator of Film and Video at e-flux. He is also a cocurator of the 14th Shanghai Biennale (2023–24). He received his PhD degree in Cinema Studies from New York University in 2022. His writings on moving image are widely published, and most recently he was the coeditor of Cinema and the Environment in Eastern Europe (Berghahn Press, 2024) and Jonas Mekas: The Camera Was Always Running (Yale University Press, 2022).