Beny Wagner

Beny Wagner is a Lecturer in Fine Art Critical Studies at Goldsmiths, University of London, where he explores the intersections of artist moving image, media theory, and histories of science. His collaborative practice with Sasha Litvintseva spans non-linear narratives interrogating the threshold of the human body in time, blending philosophical inquiry with experimental filmmaking.

• Education: PhD in Archaeologies of Media and Technology (Winchester School of Art, University of Southampton, 2024)
• Previous Teaching: UCL, Queen Mary University London, Gerrit Rietveld Academy Amsterdam, and guest lectures at European/American institutions

His research examines metabolism, measurement standardization, and environmental control systems, often through historical lenses like John Scott Haldane's canary experiments or Flusser's philosophical texts. Recent works like My Want of You Partakes of Me (2023) and Constant (2022) have received international recognition, including awards at IndieLisboa and Guanajuato International Film Festival.

Key publications such as Two Hundred Years of Total Conversion (2024) in Ecoes and Plasmaticness and the Boundaries of Human Perception (2022) in Liquidity, Flows, Circulation situate his theoretical output within media archaeology and critical ecology. Film awards and festival selections highlight his impact on experimental documentary practices.

• Scientific Awards:
  • Jury Special Mention, CPH:DOX 2024
  • Silvestre Award for Best Short Film, IndieLisboa 2022
  • Best Short Documentary, Guanajuato International Film Festival 2022
  • Jury Special Mention, EXiS Seoul 2022

As a researcher at Jan van Eyck Academy and recipient of support from Creative Europe and South, West and Wales Doctoral Training Partnership, Wagner's practice bridges film, academic research, and curatorial projects. His supervision interests include film and media archaeology, decolonial ecology, and mysticism, particularly within MA Artist Film and BA Fine Art Critical Studies programmes.

His doctoral thesis Metabolisms of Moving Image (2024) expands his artistic research into the physiological, political, and philosophical dimensions of media's environmental entanglements. Collaborative films like Materializing the Immaterial: Film as Seeing and Sensing (2024) continue to interrogate embodiment through scientific imaging technologies and posthumanist frameworks.