XPOSED XPANDED
XPOSED Queer Film Festival Berlin
XPOSED XPANDED: 20th anniversary XPOSED Queer Film Festival Berlin
The exhibition rooms at Vierte Welt are opened Thursday to Sunday and feature films, video, and virtual-reality installations based on previous curation of XPOSED, from the last 20 years.
Do. 21.05.26 – So. 14.06.26 | 16:00 – 21:00 Uhr
Eintritt frei
XPOSED XPANDED Exhibition at Vierte Welt Room 1
“Live from home”
Centralizing the topic of home, kinship, and domesticity in queer films, this room brings you up close and intimate with the subjects in their space, as if these works mediate queer realities “live” from home, from a place they belong to (or not). It starts with the central piece, the VR installation Queer.space’s Doll House for Queer Imaginaries (2024), which houses experiences of queer people in South Africa in a virtual chatroom, set within a campy dollhouse. Nearby, Omar Gabriel’s multi-screen installation Letter to Myself (2022) collects testimonies from queer family members, be it sister, mother, or father, in Lebanon. Together, as an installation, each screen acts as access to individual histories and the collective intimacy shared in a safe space.
Lasse Langström’s Who Will Fuck Daddy? (2017) uses artistic pornography as a site for imagining queer beings in cosmic constellations, a cycle of earthly deaths and rebirths. Opposing each other are Ming Wong’s Learn Deutsch mit Petra von Kant (2016), which roleplays the famous Petra from Fassbinder’s film, learning German (as an immigrant) with her in her house, and Aurora Brachman and Latajh Weaver’s Hold Me Close (2024), which echoes a similar process: of domestication, of dreaming of children, of overcoming trauma, and of championing hope within a system that rejects our joy.
XPOSED XPANDED Exhibition at Vierte Welt Room 2
“Follow their footsteps”
This room is a portal where dreams and images across time and space collide, overlap, and are analyzed, grounded in the belief that queer time is not linear and remains largely for us to construct. It features two VR installations. One is Domenico Singha Pedroli’s Another Place (2025), which follows a transgender political activist from Thailand living in France, who brings us on a walk, confronting racist and transphobic asylum procedures, as well as feelings of alienation. The other is Lui Avallos’ Queer Utopia: Act 1 Cruising (2023), in which the protagonist, a Brazilian elder gay man, takes us on a trip down memory lane, through the shabby toilets where one used to have sex, and the places where he once dreamed.
As the central piece, Doireann O’Malley’s three-screen installation Prototype 1 (2019), which also won the first XPOSED Short Film Fund, looks at trans* knowledge and our psycho-ecological bodies through the lens of psychoanalysis and Deleuzian philosophy. On the opposite wall, one sees Finn Paul’s Beside the Water 1999–2004 (2018), similarly a collection of memories and tales: photographs, found footage, and landscapes of lovers. On the left and right sides of the room, we see Nikolai Ursin’s Behind Every Good Man (1967), one of the earliest short documentaries depicting a Black trans woman in the United States with sensitivity and humanity. Nearby is Oat Montien’s Pearl Boy (2025) installation, thematizing the exploitation of Thai sex workers amid neocolonial tourism, while also showing how they carve out space for joy and self-empowerment. On the opposite side is Vika Kirchenbauer’s Untitled Sequence of Gaps (2016) examines how the visible spectrum of light can be read through a queer lens, engaging with concepts of memory loss, ghosts, and censorship, This room invites us to follow in each other’s footsteps, often those of strangers, elders, and non-humans, dreaming, longing, and hoping together.
These two exhibitions are part of a larger program XPOSED XPANED that looks back on last 20 years of XPOSED as it looks forward.
XPOSED XPANDED is supported by Hauptstadtkulturfonds
Graphik: XPOSED XPANDED
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