6pm to 6am : Borgial, Sarah-Anaïs Desbenoit, Ladji Diaby, Leandro Katz, Sequoia Scavullo, Deborah Stratman, Louise Vo Tan, Yuyan Wang

In resonance with the exhibition “Clair-obscur”, the Bourse de Commerce presents 6pm to 6am, an event conceived by independent curator Violette Wood. Eight films by mostly emerging French and international artists explore this threshold where light ceases to illuminate and instead becomes matter, wave, vibration.

At dusk, images change their nature. They no longer seek to reveal the world but to move through it. This program—bringing together Borgial, Ladji Diaby, Sarah-Anaïs Desbenoit, Leandro Katz, Sequoia Scavullo, Deborah Stratman, Louise Vo Tan, and Yuyan Wang—focuses on gray zones where reality disintegrates: thresholds, interstices, spaces of transit or latency. These video works explore the margins of the visible and audible, where fiction, memory, and politics intermingle. The places crossed or inhabited by the artists—subway cars, cruise ships, recycling centers, or mental landscapes form an unstable geography populated by unclassifiable presences and narratives often relegated to shadow: fragments of struggle, buried memories, lingering dreams. They are zones of friction between forms and affects, where light becomes an operator of disturbance.

The title 6pm to 6am refers to the ambiguous interval between dusk and dawn: a territory of instability where the reference points of daytime fade and the imaginary reclaims the real. Within this span, perception itself becomes creative material. This screening evening proposes a traversal of this dilated temporality, alternating concentration and release, where films open within the interstices of the previous one, like an echo, a persistence. Together, they compose a nocturnal journey in which the image becomes hypnotic, where light, far from dispelling shadows, renders them denser. 6pm to 6am invites viewers to experience the moment when the visible falters, when other forms of attention - staying, looking longer, allowing darkness to think - become possible.

Louise Vo Tan – Vorace (2024, 11 min 32)
In an industrial zone nearly devoid of human bodies, cranes, shears, and shredders endlessly repeat the same operations: sorting, cutting, compacting scrap metal. As the gaze lingers, their mechanical arms seem to take on an almost human presence, turning this site of transformation into a zone of troubled perception, where gestures repeat not to produce but to prepare matter to be reborn elsewhere.

Sequoia Scavullo – Ruler of the Land (2025, 12 min 56)
Confined to bed, a young girl transforms her limitations into mental architecture: she becomes towers, house, territory, sheltering the image of a love yet to come. Between nocturnal shadows, involuntary magic, and collapsing forms, the film plays with our dreams, projections, and manifestations.

Ladji Diaby – L’idée du mal (2025, 11 min 04)
There was once a time when the world was governed by the God of the Sky and the Goddess of the Earth. A voice-over recounts a relationship of domination and possession, while the mythic narrative collides with images of reality, blurring boundaries between history, memory, and transmission.

Borgial – Sans titre II (2025, 6 min 34)
This film is a documentation of a performance presented at the Bliss festival at De Singel (Anvers). Through an extreme slowness of movement, the artist unfolds a personal mythology in which the body becomes a site of embodiment, in dialogue with object, symbol, and attribute.

Sarah-Anaïs Desbenoit – Phalène (2025, 19 min 44)
Two twin figures repeat banal, everyday gestures in a silent, ritualized choreography. As their bodies mirror one another, a disturbance emerges, fracturing the order of reality and opening domestic life onto a mythic and ghostly dimension.

Deborah Stratman – Laika (2021, 4 min 33)
This film pays tribute to the dogs used in space testing and to all beings sacrificed in the name of progress. Of some, only shadows remain, the sole traces of their forms and presences.

Leandro Katz – Odessa – Buenos Aires (2025, 17 min 42)
A transatlantic crossing aboard a cruise ship intertwines with an intimate family history of migration. The Franco-Argentine artist follows the traces of his ancestors, revealing a suspended world: invisible workers, an omnipresent and unchanged sea, a dystopian atmosphere between hyper-consumption and grounding in reality.

Yuyan Wang – Green Grey Black Brown (2024, 11 min 30)
Composed from found footage, the film explores an artificial nature traversed by a dark, diffuse substance. Between synthetic plants and industrial landscapes, it reveals the imprint of a world shaped by extraction and the illusion of progress.

About Violette Wood 

Violette Wood (born in 1996 in Madrid) lives and works in Paris. An independent curator since 2019, she graduated from the École des Beaux-Arts de Paris and the London College of Communication. In 2023, she co-organized screening sessions at Silencio Club, followed in 2024 by a film and performance festival in partnership with the independent cinema La Clef. In 2025, she was guest curator of Labo Démo – Literature and Performance at the Centre Wallonie-Bruxelles, where she also joined the selection jury. Her previous curatorial projects include IS SOMETHING MISSING? at FRAC Corsica, DAHABIYY at 3537, and I have no children, but I’m a mother at La Volonté 93.