Epistolary narrative, dialogism, intertextuality, speculative narrative — we imagine this text to be letters between the two of us across different temporalities, making use of a speculative and fragmented narrative in line with the themes we explore in our work: archiving the unarchivable, emotions, memories, and other human conditions within the horizon of extinction.
The legacy of anti-colonial leader and Pan-Africanist revolutionary Amílcar Cabral (1924-1973) still calls for cultural readings, and not strictly political ones. Contemporary art, so-called “artistic research” and critical theory will benefit from a cross-disciplinary approach which puts Cabral as relevant to art or which turns Cabral’s many contributions into tools.
This video interweaves the mobility of defiance against national-colonial borders and the collection of gossips by Southeast Asian migrants in Berlin.
Interrogating the archive of “green” extractivism is not just about uncovering access to knowledge, legal knowledge, for example, that can help expose (ecological and economic) crime and that can thus be a starting point for empowering true alternatives and thus alternative ways of living and organizing economic processes. It is also about creating a resonant space for shared thinking and reflection.
Accumulation and multiplication of images is an accumulation of the hidden histories behind them. How do we recover these invisible histories?
Scanning the Horizon works with and towards the seemingly unattainable, yet powerfully generative utopian demands of queer life set out on the horizon.
What does it mean to do archival research in embodied ways? Where is ‘the archive’ located in such an approach? And how might the open form of ‘the score’—a provisional map, a musical or performance score, a speculative cartography, an image atlas, a set of instructions—offer possibilities for articulating and transmitting the knowledge of elusive archives?
An open-source, collaborative diary for creating archival alliances. We identify “commoning the archive” as a disobedient, decolonized, autonomous, subversive, and rogue practice. Hereby, we can approach it as a collective mnemonic practice.
This essay explores the ways in which the counter-archive is animated through networks of people across time and place, as material is shared, presented and recontextualised, using the solidarity film-screening “Beyrouth plusieurs fois”, that was developed after the 2020 explosions in Beirut, as an example.
The Risograph is a Japanese print machine that uses soy based monochrome ink. This essay explores the Risograph through the lens of independent publishing. What are the notions of ownership, values, community networks and archival tactics surrounding this printing technique?
How are cities and their nightlife architectures archives of layered histories? The long term project “Disco Comradeship” embraces the sidewalks of Berlin as a crucial site for archiving the traces of unfinished histories.
This text examines how sound can be archived on an object like a wax cylinder and how this way of archiving the intangible differs fundamentally from the approach of oral cultures, using Safi Faye’s film Fad’jal as an example.