This program is supported by the festival, Ekrani i Artit 2025: Postcards from Elsewhere, Goethe Institute, Protocinema and SAHA Association, Istanbul.

All you have to do is read the subtitles aloud to become the main character in a story of camaraderie, sex, betrayal, in the digital theater of love and life.

Read Subtitles Aloud is part melodrama, part experiment, part game: a theatrical experience disguised as video art, where the fourth wall is broken and everyone becomes implicated in interpersonal entanglements.

Onur Karaoğlu’s Read Subtitles Aloud, Chapter 2 (2020), I’m Glad You Exist is a participatory dialogue on cultural divides between former lover, that becomes a gentle invocation for connection despite, or even because of, miscommunication.

-director of Orhan Pamuk's Museum Of Innocence in Istanbul. Karaoglu teaches classes on performance at Boğaziçi and Koç University. He received BA in Sociology at Boğaziçi University and MFA in Theater Directing at Columbia University in The City Of New York.

-SPOT, Operation Room and Protocinema. He is one of the founding members of Studio 4 Istanbul that is producing theater, film works and performance space KÖŞE in Yeldeğirmeni which then turned into an international performance festival.

Between 2014-2019 he worked as the -

Since 2010, his original and adapted writing and directing pieces have been commissioned and presented by festivals and institutions such as Wiener Festwochen, Dancing On The Edge, Media Art Xplarotion and Volksbühne.

His installations and video works were presented at Bahar-

Curated by Mari Spirito, this program explores the nuances of cultural third spaces and honors what can be learned through confusion and misunderstanding.

Onur Hamilton Karaoglu makes works in theater, performance and video.

This program is supported by the festival, Ekrani i Artit 2025: Postcards from Elsewhere, Goethe Institute, Protocinema and SAHA Association, Istanbul.

- life free from undue influence, this work draws connections between diasporic fantasies of return, gospel music, and 19th-century nation-building projects, The Upper Room examines how spaces—real and imagined—are produced and reproduced through power, memory, and longing.

Collins reconstructs forgotten historical events, highlighting the horror of conforming to unjust systems. He suggests that the human mind is the ultimate battleground, where behavior modification captures, and refuses to release, the imagination. Arguing at everyone deserves a -

This sci-fi video essay explores the psychology of slavery—both of the enslaved and the enslavers—using AI to generate otherworldly characters and black screens with voiceovers that lead to an expected, yet startling, conclusion that doubles back on itself.

In 2019, he participated in the Whitney Museum’s Independent Study Program. He lives and works in Los Angeles.

Carré d’Art, Nîmes; and the Kunsthalle Wien in Vienna.His work is in the permanent collection of the Hammer Museum, Los Angeles. He received an MFA from UCLA in 2018, and was a 2017 resident at the Skowhegan School for Painting and Sculpture.

Coleman Collins is a 2025 Guggenheim Fellow and Assistant Professor of Art at University of California, Irvine. Selected recent exhibitions and screenings have taken place at Brief Histories, New York; e-flux, New York; the Palestine Festival of Literature, Jerusalem/Ramallah;

Curated by Mari Spirito, this program explores the nuances of cultural third spaces and honors what can be learned through confusion and misunderstanding.

By removing the rapid, jarring movements from the original footage, these images are transformed into a contemplative exploration of the landscape, prompting a reevaluation of our connection to nature.