Assaf Gruber’s film Transient Witness traces the transformation of a private collection into a public archive and the questions that this change raises. It refers to the donation of the collection of Egidio Marzona to the Staatliche Kunstsammlungen Dresden (SKD), where the former collection is now known as Archiv der Avantgarden (AdA). Transient Witness has been developed and realized in the frame of The Whole Life: An Archive Project. The film explores the common features and necessary distinctions between art collections, archives, as well as the various materials and cultural substrata that enable their existence. It does so by narrating a fictional story of the transfer of the objects from the private house of collector Egidio Marzona in Berlin to their new domicile – the Japanisches Palais, a Rococo building part of the Staatliche Kunstsammlungen Dresden – through the eyes of three main characters: Christina, the manager of the collection; Maurizio, the art mover who comes to collect the works; and Präsens, the collector’s dog. In the course of the plot, the boundaries of the real and the fictional become blurred. In this conversation Stefan Aue, Assaf Gruber, and Marcelo Rezende talk about the concept of the film and how the objects involved are telling a parallel story in the setting of this cinematic format.
Chto Delat’s installation Canary Archives employs the imagery of the canary in the coal mine, once used to alarm miners when carbon monoxide levels rose. Where is the canary today, that tells us wether the danger is real? It seems to have gone silent, the sharpest signal it can send. In an emergency newspaper issue under the impression of the Russian war on Ukraine, Chto Delat assembles anti-war views of artists and critics and expresses their solidarity with the Ukrainian people.
This video interweaves the mobility of defiance against national-colonial borders and the collection of gossips by Southeast Asian migrants in Berlin.
The video explores the encounter (digital and analogue) between the body and the archive.
Scanning the Horizon works with and towards the seemingly unattainable, yet powerfully generative utopian demands of queer life set out on the horizon.
The Perverted Archival Image workshop centered on and tentacled off from Studio Baalbeck. The workshop participants created an audio montage of recordings to accompany some of the visual archive material.
In search of a polyphony that speaks to the ecologies, nightmares, poisons and antidotes that come to assemble an Archive for the Eleventh Hour.
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?
Delving into the notion of the desktop as an archival site and methodology, this contribution presents two divergent outputs resulting from collaboration between the participants and co-conveners of the Academy workshop “Desktop Shortcuts”: an in-development simplified database of hyperlinks, and a poetic game of disorder.
Imagine these fragments are a response to a not-yet-written manifesto for a hedonistic archive. Then imagine they are a response to a manifesto which cannot be written at all and should not be either.
Knots can store and transport information as a three-dimensional medium – in the Andes they were used in this way for centuries. Nayeli Vega looks at their practical as well as their symbolic function and with digital and analog methods creates knots to encrypt data.