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HAUNTINGS / SONIC F(R)ICTIONS
sonic lectures and film sonic extensions

sound, performance
(Vienna, 2025)

HAUNTINGS/SONIC F(R)ICTIONS  is a cinematic program curated by Djamila Grandits and Lara Bellon as part of the 2025 Ethnocineca international documentary festival in Vienna, Austria.
The programme consists of three film-screenings and performance by SOÑXSEED, with one screening to Onyeka Igwe's work, one to Maxime Jean Baptiste's short films and the third one features John Akomfrah’s Last Anges of History.

Soñ Gweha aka SOÑXSEED, proposed a sonic lecture titles “BLOWIN ON THE NEEDLE: ON HYMNS AND QUIT STORM” to open up the program and continued the 3 days event with sonic extensions, following each screening. Thus, the artist proceed to share sonic offerings  through vinyl records, field recordings, videos, voice and poetry, to share their own sonic take on Onyeka Igwe, Maxime Jean-Baptiste and John Akomfrah’s films.

Premiered in on May 11, 12, 13 2025 at the KINO CINEMA and the Latin-American Insitute of Vienna.

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About Hauntings/Sonic F(r)ictions
“What does it mean to translate the void?
Haunted images and imaginaries. Archives and narratives shaped and torn by erasure and colonial violence, instrumentalized for capturing, for locking down meaning. Sonic f(r)ictions features film practices that rebel against the image, offering speculative openings to counter-histories. They propose remixing, reassembling and resignifying as modes of contestation.
Critical fabulation as a way to encounter voids and silences. By tearing, stretching and rupturing linearities, these practices disrupt the grammar of hegemonic logic and temporality, making space for spectres that transcend time-spaces and space-times, prefiguring possible elsewheres (and might have beens). Scrubbed soundscapes, rhythms, whispers and song as sonic interventions and explorations gravitate toward the spaces between, beneath and beyond frames and framings. Bodies as sites of knowledge, gestures and movements as activated memory, as embodied historicity. Approaching archives by listening to the hum, as Tina Campt would put it, these films become searching movements toward what lies beyond
capture – movements toward release, toward multiplicities. Three proposals, expanded by sonic extensions that bleed into the screening room, excavate ghosts, voices and appearances.”