hello@marijnbril.work / Instagram / LinkedIn

is a media art curator and researcher. With an interest in digital culture in all its complexity and absurdity, she explores topics such as networked image culture, digital metaphors, and productivity. She reflects upon these predominantly through curated programs and essays.

Marijn has worked with IMPAKT Centre for Media Culture, the Young Curators Academy, The Wrong Biennale, CIVA Festival, and Institute of Network Cultures. Currently, she studies in the Erasmus Mundus Joint Excellence Master Media Arts Cultures, at the universities of Krems (AT), Aalborg (DK), and Łódź (PL).

Nuclear Aesthetics (IMPAKT Channel)
Curated film programme based on the archive of IMPAKT (online, published on 26/04/2021)

The invention of nuclear energy has brought a new imaginary: the consciousness that time may as well end. The iconic imagery of atomic blasts has infiltrated the public mind as a terrible beauty, destructive yet leaving the spectator in awe. This paradoxical experience of the atomic sublime elevated dystopian anxieties and myths of progress to the status of an aesthetic event.

The age of anxiety of the cold war has found new meaning amid current uncertainties, with the pandemic and the climate crisis seemingly bringing doomsday back in arm’s reach. Does the destruction of the past haunt us in the present? Does its imaginary and imagery find its way back to us, not as a ‘bright and wonderful future,’ but as the end of the future itself? Catastrophe looms, but society continues regardless, absorbed in the everyday yet suddenly struck by the fear of the unknown.

This programme examines the (visual) language of apocalyptic anxiety and technologies, both in a historic cold war as a contemporary setting. Ranging from the atomic sublime to politics’ fear speak, responsibility, uncertainty, and ignorance, Nuclear Aesthetics shows different modes of representation of the terrible beauty of doomsday.

Extinction Rebellion x Chernobyl (2019), Ted Hunt
Crossroads (1976), Bruce Conner
Sitting in the Darkness (2015), Graeme Arnfield
Hotel, the Box (2019), Benjamin Nuel
Involuntary Conversion (1991), Jeanne C. Finley

Full programme available online via impakt.nl