double bill #3

In efforts to make sense of post-war migration, this double-bill uses two opposed lenses—one direct and deliberate, the other fragmented and symbolic.

Ibro Hasanović’s Note on Multitude, shot in Priština in stark black-and-white, captures a raw departure: a crowd pressed together in anxious anticipation, families saying goodbye. The camera does not explain; it lingers—witness to the wounds. By contrast, in The Migrating Image, Stefan Kruse Jørgensen composes a careful inventory of such a journey—reassembled through surveillance footage, newsfeeds, and compressed pixels.

Where Hasanović films those who bid farewell, Jørgensen reveals how their images return: circulating endlessly, stripped of intimacy. Together, these works trace the migration of bodies and their representations. One mourns the loss of presence; the other interrogates its excess.