Nina Fischer & Maroan el Sani

Thanks to everyone who came to the premiere of our new video work ‚The big regret‘ which proclaims the end of social media and calls for a return to, and reactivation of supernatural abilities such as telepathy through ‚Brain Balancing‘ - a form of telecommunication without technical devices, which we already developed in our video work ‚Be supernatural‘ (1995) as an ironic response to the technology hype of the early 1990s. Nina Fischer & Maroan el Sani The big regret, 4K, 19 min., 2026 Copyright Fischer & el Sani and VG Bild Kunst, 2026 Note: The video is partly AI generated. ‚The big regret‘ is a collaborative project of Fischer & el Sani @studiofischerelsani Tamara Miller @tam.emiller Celestin Meunier @cele_stin Ensemble Recherche @ensemblerecherche #samaltman #openai #socialmedia #contemporaryart #videoart

Final rehearsals of our new work ‚The big regret‘ which proclaims the end of social media and calls for a return to, and reactivation of supernatural abilities such as telepathy through ‚Brain Balancing‘ - a form of telecommunication without technical devices, which Fischer & el Sani already developed in their video work ‚Be supernatural‘ (1995) as an ironic response to the technology hype of the early 1990s. Nina Fischer & Maroan el Sani The big regret, 4K, 19 min., 2026 Copyright Fischer & el Sani and VG Bild Kunst, 2026 Note: The video is partly AI generated. ‚The big regret‘ is a collaborative project of Fischer & el Sani @studiofischerelsani Tamara Miller @tam.emiller Celestin Meunier @cele_stin Ensemble Recherche @ensemblerecherche Premiere tonight at 8pm at Lokhalle Freiburg, Theater PANOPTIKUM

FREIBURG! FREITAG 08.MAI 20.00H AT LOKHALLE! These are politically difficult and complex times, in which there is said to be a lack of freedom of expression, yet the most grotesque and absurd things are being said all the time. An era in which people are crying out for dignity and basic rights, yet are losing everything at the hands of authoritarian figures who call themselves the carriers of freedom. Fake news, AI-generated rubbish, deepfakes… Power lies not only in the hands of those who govern but also with the techno-capitalists and the wealthy who control the media: television, the news, and, of course, social media. Those who create the new technologies that are now being used in the worst possible way. We have never learned to use technology ethically or cared about creating education around old and new technologies… And now that its development is a thousand times faster than laws and bureaucracy, we face the violation of people’s rights and, in our musical sphere, the brutal violation of copyright and a deep decline of the industry. “Big Regret” The big CEOs call for a new world order without the internet, without their beloved technologies, claiming that children are being seriously affected by them. But is this the only reason? In an emergency call they state that humanity has been proven to have telepathic abilities and that this is the new path to take. Propaganda Project with @ensemblerecherche Video by Nina Fischer & Maroan el Sani @studiofischerelsani The big regret, 4K, 19 min, 2026 Copyright the artists and VG Bild-Kunst, Bonn 2026 Note: Video is partly AI generated Music by yours truly

A small glimpse into one of the collaborations featured in our concert PROPAGANDA. @tam.emiller and @studiofischerelsani – The Big Regret “Fischer & el Sani’s latest video work The Big Regret (2026) proclaims the end of social media and calls for a return to, and reactivation of, supernatural abilities such as telepathy through ‘Brain Balancing’ — a form of telecommunication without technical devices, which Fischer & el Sani had already developed in their 1995 video work Be Supernatural as an ironic response to the technology hype of the early 1990s. Nina Fischer & Maroan el Sani The Big Regret, 4K, 19 min., 2026 Copyright the artists and VG Bild-Kunst, Bonn 2026” Note: The video is AI-generated! Fake videos, synthetic voices, manipulated images — the tools of modern propaganda are more convincing than ever before. In collaboration with video artists from @udkberlin , works have been created that use these means not only for deception, but also as a way of analysing our society. We are delighted to welcome you on 8 May at 8:00 pm at Lokhalle Freiburg – Theater PAN OPTIKUM!

15 years after the tsunami and the nuclear accident in Japan at the Daiichi Fukushima power plant, we are recalling the catastrophe and its terrible consequences with our video work Spirits Closing Their Eyes, which we filmed in 2011 in Japan during our artist in residence stay in Kyoto @goetheinstitut_villakamogawa Spirits Closing Their Eyes 3-channel video installation, HD, length variable (keyword-generated), 2012 Nina Fischer & Maroan el Sani’s 3-channel video installation entitled Spirits Closing Their Eyes (2012) focuses on life in Japan after 11 March, 2011. The work deals with the physical and psychological state of emergency – mainly following the continual nuclear disaster in Fukushima – which oscillates between actual threat and subtle changes in everyday habits. #videoart #contemporaryart #fukushima #villakamogawa #nuclear @current_situation_udk @udkfilminstitut

15 years after the tsunami and the nuclear accident in Japan at the Daiichi Fukushima power plant, Fischer & el Sani are recalling the catastrophe and its terrible consequences with their video work Spirits closing their eyes. 3 channel video installation, length variable, keyword generated, 2012 “A film on life in Japan after March 11, 2011. Yet, we are not focussing on the visible damages caused by the earthquake and tsunami, nor on the reconstruction and cheer-up activities following the disaster. Rather, we are interested in non-descript and invisible changes with a particular focus on the current physical and psychological state of emergency which oscillates between actual threat and subtle changes in everyday habits. #videoart #contemparyart #nuclear #eartquake #fukushima

@udkfilminstitut presents AI and Fiction Film Screening and Artist Talk with Sina Ataeian Dena and Silke Botsch Wednesday, 21 January 2026 6 pm – 9 pm, free entrance Aula, Medienhaus, University of the Arts Berlin Grunewaldstr. 2–5, 10823 Berlin Film Screening and Artist Talk with Sina Ataeian Dena and Silke Botsch moderated by Prof. Nina Fischer @studiofischerelsani (Class Experimental Film and Media Art, KuM) exploring AI in media art, featuring autobiographical approaches to AI-based filmmaking. Sina Ataeian Dena (*1983 in Ahvaz, Iran) is an Iranian-German filmmaker and multimedia artist whose practice includes animation, video installations, documentary, and narrative cinema. His work frequently addresses social and political subjects through experimental and hybrid forms. His films and installations have been presented and awarded at numerous prestigious festivals and art venues internationally. Silke Botsch (*1967 in Berlin) is a Berlin-based editor and filmmaker whose work combines narrative editing, visual experimentation, and emerging AI-based production methods. She also works as a commercial director and has presented her work as a first editor for fiction, animation, and documentary films at major international festivals, including the Berlinale Forum, Karlovy Vary IFF, Sundance, Cannes, Locarno, Annecy, the Munich Film Festival, and Visions du Réel. In 2025, she created her first fully AI-generated film, a 63-minute production set for release in 2026. The Filminstitut of the University of the Arts Berlin hosts the KuM Lectures and Artist Talks at Medienhaus, where outstanding media artists and KuM alumni share their practices in public events bridging contemporary discourse and new film/media technologies. This public event is an official part of Transmediale Vorspiel 2026. @vorspiel.berlin @udkberlin https://vorspiel.berlin/events/ai-and-fiction-film-screening-and-artist-talk-with-sina-ataeian-dena-and-silke-botsch

#throwback Artist Talk mit Fischer&el Sani @studiofischerelsani und Jörg Koopmann @koopmannjoerg zu Open Block 2025 Das KünstlerInnen Duo Fischer&el Sani entwickelte in den 90er Jahren die Arbeit Phantom Clubs. Eine fotografische Serie, die Eingänge der damaligen temporären Clubs in Berlin (und Liverpool) darstellt. Am Tag, in den Mittagsstunden, als man sich nie sicher sein konnte, ob man vor der richtigen Tür stand... Eine Arbeit zur Navigation, Codes – und Zugänglichkeit. Jörg Koopmann kuratierte langjährig das Münchner Festival Fotodoks, sowie die Lothringer 13 Halle. Mit Nina und Maroan trafen sie sich bei "Little Boy’s Luminous Legacies (new, clear, atomic narratives)" in 2019. Von dem KünstlerIn Duo wurde im Tilo Schulz Raum der Film Klub2000: Rome, Paris, Marzahn (11min, 1998) gezeigt, der den ProtagonistInnen auf ihrer erfolglosen Erkundungstour nach neuen Club Locations nach Marzahn folgt. Photos: Nikolai Rusu #openblock #luitpoldblock #langenachtdermünchnermuseen #kunstinmünchen #stiftungfederkiel #publicpossession #münchen #artandculture #openhouse #blocklife

We are thrilled that our work ‚Cloud Alchemy - Art, Activism and Splitting Communities‘, 6 channel video installation is featured in the catalogue ‚Utopia. Right to Hope‘ @kunstmuseumwolfsburg We live in a time of global polycrises: wars, worldwide refugee movements, and a growing loss of trust in democratic structures characterize current world events. At the same time, the man-made climate catastrophe is a dominant challenge that profoundly influences our thoughts and actions. The exhibition and publication project Utopia. Right to Hope counters this with a powerful message. Numerous international artistic positions send a signal of confidence—an appeal for the possibility of a better, more just life for all people on this planet. The accompanying, richly illustrated publication is a transdisciplinary project. It brings together contributions from art history, philosophy, sociology, history, and political science, opening up diverse perspectives on the central themes of the exhibition. With contributions by: Dr. Inke Arns, Dr. Andreas Beitin, Dr. Dagmar Fink, Dr. Lisa Garforth, Prof. Dr. Jörg Heiser, Dr. Jakob Huber, Wolfgang Kaleck, Dr. Sebastian Mühl, Prof. Dr. Ludger Schwarte, Prof. Dr. Maristella Svampa, Prof. Dr. Friedrich von Borries, Prof. Dr. Tilo Wesche, Prof. Dr. Kerstin Wolff, and Prof. Dr. Alex Zamalin. #utopia #contemporaryart #climatechange #splittingcommunities

recap: Festival Of Future Nows, 2014 @neuenationalgalerie 'Balancing out the temple of orthogonality' by Fischer & el Sani This intervention invites visitors to take part in a patience exercise: balancing a raw egg in front of Berlin’s Neue Nationalgalerie, the city’s temple of modernism. The performance will take place on one of the countless flat surfaces surrounding the Nationalgalerie, and those participating in the piece will try to balance a raw egg so that it stands upright. As a significant symbol of the work of Mies van der Rohe, expressing the spirit of modernism in architecture, the Neue Nationalgalerie in Berlin focuses on clarity, simplicity, and a reduction to the essential. Van der Rohe’s design seeks to join the exterior and the interior space and eliminate the barrier between art and community. It is here, around the external perimeter of the Neue Nationalgalerie, the border theoretically erased by the building’s design, that this intervention takes place. This egg performance will be a social balancing act between standing up and collapsing – a constant rise and fall, figuratively speaking. Successfully balancing the egg requires steady and persistent concentration, a calm hand, great patience, and an understanding of the complex architecture of the egg. Each participant assumes a role in the balance of the two opposite movements of modernism in architecture: orthogonal versus organic architecture. The balancing of the egg goes beyond an engagement with Van der Rohe’s structure itself, representing the act of building up a well-balanced community.

18 - 19 September 2025, 2pm - 1am Screening of Klub 2000 - Rome, Paris, Marzahn @langenachtdermuenchnermuseen Open Block @luitpoldblock Munich The 16-millimeter film Klub 2000 – Rome, Paris, Marzahn (1998) by Nina Fischer & Maroan el Sani explores the prefabricated housing estate as a site of youthful cultural longing. In the twelve-minute black-and-white film, two bored ravers —DJ Poge and his girlfriend Dani — drive their VW bus toward Marzahn on a Monday morning after a dull night out in Berlin-Mitte, searching for a new and exciting club venue in Germany’s largest Plattenbau district. The periphery becomes a space of the future — the dormitory town turns into a canvas for their desires. But although Marzahn appears as newly discovered territory, the vision of a “Klub 2000” remains vague and seems to falter at a moment where “two pioneers are one too many.” With Klub 2000 — one of the key works from Fischer and el Sani’s early joint practice — the artist duo captures the zeitgeist of the late 1990s, on the cusp of a new millennium, when Berlin was in flux and brimming with possibilities. The photo showing the words “Klub 2000” in the window of a prefab building in Marzahn —which also appears on the cover of the book of the same name — becomes a symbol of a hopeful vision: a city beyond old boundaries, open to new networks and narratives. At the same time, the film references real developments. In retrospect, the imagined nightlife on the city’s outskirts no longer seems like pure fiction, but rather an early reflection on the displacement processes that have unfolded in Berlin’s inner-city neighborhoods ever since. Video/image copyright: Nina Fischer & Maroan el Sani and VG Bild-Kunst, 2025

New publication out @distanzverlag featuring our film and photo work „Klub 2000 - Rom, Paris, Marzahn“, which is also on view right now as part of the exhibition Wohnkomplex: Art and Life in Plattenbau, Kunsthaus Minsk, Potsdam from September 6, 2025 - February 8, 2026. With Klub 2000 — one of early works from Fischer & el Sani’s joint practice — the artist duo captures the zeitgeist of the late 1990s, on the cusp of a new millennium, when Berlin was in flux and brimming with possibilities. Their film and photo work Klub 2000 - Rome, Paris, Marzahn shows the city beyond old boundaries, open to new networks and narratives. At the same time, the work references real developments. In retrospect, the imagined nightlife on the city’s outskirts no longer seems like pure fiction, but rather an early reflection on the displacement processes that have unfolded in Berlin’s inner-city neighborhoods ever since. Accompanying the exhibition at DAS MINSK curated by Kito Nedo, the catalogue “Wohnkomplex. Art and Life in Plattenbau” surveys the ways in which art has grappled with East Germany’s prefabricated housing estates. It presents installations, paintings, drawings, photographs, and films created between the 1970s and today. #distanzverlag #distanzpublishing #newbook #newonourshelves⁠ @distsanzverlag ⁠@kitonedo @kevin_hanschke @hassoplattnerfoundation ⁠@gritka_grit @lia_ri_ ⁠ Design by @lammkirch , florian.lamm, mit Jonathan Körner