Appealing simultaneously to the various meanings of the term 'Subatlantic'—a climatic phase beginning 2500 years ago, as well as the submerged regions of the Atlantic—Biemann immerses her camera deep in oceanic waters to ponder upon the entanglements of geological time with that of human history.

As the voice-over speaks the accounts of a she-scientist traversing the pan-generational timescales of the Subatlantic, we navigate through the mental and ecological dimensions of the melting Arctic icescapes. The speculative video-essay interweaves vast cinematic landscapes with documentary footage, science fiction poetry and academic findings to narrate a changing planetary reality.

Ursula Biemann

Ursula Biemann is an artist, writer, and video essayist based in Zurich, Switzerland. Her artistic practice is strongly research oriented and involves fieldwork in remote locations where she investigates climate change and the ecologies of oil and water, as in the recent projects Egyptian Chemistry (2012), Deep Weather (2013) and Forest Law (2014). Her earlier work focused on geographies of mobility, e.g. in the widely exhibited art and research project Sahara Chronicle on clandestine migration networks. Her video installations are exhibited worldwide in museums and at international art biennials in Liverpool, Sharjah, Shanghai, Sevilla, Istanbul, Montreal, Venice and Sao Paulo. She had comprehensive solo exhibitions at Neuer Berliner Kunstverein, Lentos Museum Linz and Helmhaus Zurich. Biemann received the 2009 Prix Meret Oppenheim, the Swiss Grand Award for Art.


Biosemiotic Borneo (2016), Twenty One Percent (2016), Subatlantic (2015), Forest Law (2014), Deep Weather (2013), Egyptian Chemistry (2012), X-Mission (2008), Sahara Chronicle (2006-2007), Black Sea Files (2005), Contained Mobility (2004), Europlex (2003), Remote Sensing (2001), Writing Desire (2000), Performing the Border (1999)