WAVELENGTHS 1: WLS19

Structures of display and containment, both physical and figurative, form the core of this programme, whose works — by turns fluid, cryptic, coded, and diaristic — refute many binaries: interior/exterior, personal/public, lion/lioness.

Philipp Fleischmann continues his structural examination of exhibition sites with Austrian Pavilion, using specially constructed cameras to capture the interior and exterior of his country's Josef Hoffmann–built national arts pavilion in Venice's Giardini.

A highlight of this year's Venice Biennale, Turner Prize–winning artist-filmmaker Charlotte Prodger's SaF05, part of her celebrated trilogy that includes Stoneymollan Trail (2015) and BRIDGIT (2016), deftly blends the scientific with the diaristic. Using footage from the Scottish Highlands, the Great Basin Desert, the Okavango Delta, and the Ionian Islands, as well as a dynamic mix of media — including iPhone, drone, and security-camera footage — Prodger depicts the hunt for a rare, maned lioness that lends the film its title. The work also includes narrated episodes from Prodger's personal life, in a wholly original reflection on queer desire and self-determination.

Shot using a custom-built camera for 35mm, Mike Gibisser's Slow Volumes pushes familiar spaces into abstraction, as the artist's living room blends with a verdant park in a Michael Snow-esque experiment bending cinematic space and time.

Incorporating themes of nature, biological warfare, gender, and queerness, Pedro Neves Marques' loaded, lush, and speculative A Mordida (The Bite) depicts a polyamorous, non-binary relationship that struggles to survive an encroaching mosquito epidemic in the Brazilian rainforest, as scientists work on a lab-engineered panacea.

ANDRÉA PICARD