Emilija Škarnulytė

With striking images and meticulous sound work, Burial reminds us of the paradoxical relationship between scientific development and the destruction of nature. Questioning the effects of human activity on the planet we inhabit and which we have put at risk, the film focuses on the unsolved issues of nuclear plants and nuclear activity.

A woman born with sirenomelia, a mythological posthuman being takes us on the journey to the Cold War submarine base above the arctic circle. She exposes a future liberated from the military and economic structures that oppress the present, a future in which relations between humans and nonhumans have been transfigured, a future in which the cosmic dimension of an earthly coexistence is interlaced within the texture of the social. Sirenomelia explores questions of the beginning of the universe in relation to the geological ungrounding processes, invisible structures, geo-traumas and deep time. It is a fictional visual meditation about contemporary science and a cross sections of the larger systems of power and the politics of desire. By performing in Sirenomelia herself, Škarnulytė becomes a measure for biosphere, magnetic fields, photons, minerals and gravity waves.

New Mineral Collective is the largest and least productive mining company in the world. The company provides counter- prospecting operations and geo-trauma healing therapies at 259 Lake Shore Blvd E and Small Arms. This video installation, Pleasure Prospects, follows the process of acquiring prospecting licenses for alternative values and takes a critical look at “perforated landscapes”—land altered by extractive industries.

'Tidal Body' is a graphic score that explores concepts of contemporary cartography, buoyancy, and the ocean as a sonic space. The ocean's properties and processes are mostly known today through distributed sensor networks. Using this data as a starting point for a composition - 'Tidal Body' incorporates local notations such as tidal rhythms, elemental swirls and eddies, maritime industry and NMC’s own iconography.

'The film drops us into the druggy deserts of the American West Coast—Joshua Tree National Park, Bryce Canyon National Park, the Chateau Marmont in Los Angeles, Las Vegas, Utah salt flats—and then moves to spa therapies and desert suburbs of unofficial, “squatted” mining plots, in a kind of collective hallucination.' (Quinn Latimer)

Hollow Earth is a visual meditation and examination of contemporary resource conditions within the circumpolar areas of the North. Combining research material, landscape shots and archival footage, this short film hopes to reflect over the changing image of the north, as a site where violence, desire, greed, and emotions are played out.

Dead zones form as oxygen levels deplete. Suffocation is becoming the new normal. There’s methane bubbling at the sea surface. Our political bearings come bursting in the Nord Stream explosion as the worst natural gas leak ever. Remnants of our defense and health industries lie at the bottom of the sea – in the form of Cold War myths and radioactive waste, which will take decades to recover from. A massive offering of hazard from humans to the environment, hypoxia is devastating for the sea. On display in the Baltic Art Gallery in Newcastle currently (29/11/25)

Data is not an abstract concept. It is an object on Earth. As the limitations of data retention in normal environments become more apparent, given the exponential growth of data created, entities that control cloud servers seek more and more novel means of storage. The deep oceanic environment is paradoxical. It offers temperature control, predictable patterns, and insulation from human error and the seasonal vicissitudes of climate above mean sea level. It is also a black box. Without close human contact, subject to unknown risks, ranging from marine fouling by invertebrate lifeforms and chemical reactions to unpredictable seismic events, new vulnerabilities emerge.