Decolonising Archives a Publication of L’Internationale Books

DECOLONISING ARCHIVES A PUBLICATION OF L’INTERNATIONALE BOOKS

DECOLONISING ARCHIVES

COVER CREDIT Footage for unfinished film about Guinean women. Labels on the reels: women at work, women at school, women in politics, women mother, farming women. INCA, Sana na N’Hada and Flora Gomes, 1979. TABLE OF CONTENTS

4 32 79 Introduction Decolonial Sensibilities: The Archives of the Commons Indigenous Research Seminar, Madrid 2015 9 and Engaging with Archives Mela Dávila and Carlos Prieto Radically in Contemporary del Campo (Museo Nacional De-Historicising the Archive. Colonial Canada Centro de Arte Reina Sofía), Decolonising Archival Memory Crystal Fraser and Zoe Todd Marisa Pérez Colina from the Supremacy (Fundación de los Comunes) of Historical Discourse 40 and Mabel Tapia Wolfgang Ernst In Search For (Red Conceptualismos del Sur) Queer Ancestors 17 Karol Radziszewski 90 Buried (and) Alive Archives of the Commons: Jeffrey Schnapp 50 Knowledge Commons, The Hump Information, and Memory 23 of Colonialism, Carlos Prieto del Campo H[gun shot]ow or The Archive as a Site c[gun shot]an I of Resistance 102 f[gun shot]orget? Rona Sela Biographies Lawrence Abu Hamdan 58 25 A Grin Another Mapping without Marker of Art and Politics. Filipa César The Archive Policies of Red Conceptualismos del Sur 73 Ana Longoni / Presenting Pasts Red Conceptualismos del Sur Andrea Stultiens

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INTRODUCTION DECOLONISING ARCHIVES

Decolonising Archives is a second publication in the example of coloniality as a condition outliving colo- L’Internationale Research strand of Decolonising nialism itself and continuing to discipline archives in Practices. Following Decolonising Museums, the cur- terms of access and political instrumentalisation. rent publication focuses on the archive and the ways The decolonisation of archives has a broader of recovering its political potential not only in relation meaning beyond interrogating the colonial legacy to history but, more urgently, to the present. In a simi- and existing, or even emerging, neo-colonial power lar way to museums and other traditional institutions relations. For the purpose of this publication, we of the European nation states (though their roots are have chosen to address decolonisation on two lev- of course much older), the archives have in the last els. The first level challenges the commodification of decades undergone significant changes towards the archive and attempts to manage it as capital. The higher accessibility and transparency, facilitated second level dwells in recognising that the seem- mainly through the advances of the digital technolo- ingly neutral Western criteria and classifications are gies. These changes have resulted in new challenges in fact tools for maintaining the role of an archive which offer unforeseen possibilities for democratisa- as an imperial project of domination and affirmation both in terms of access and knowledge production. While the former addresses mainly the issues of tion by new, often marginalised, voices. At the same ownership, accessibility and control, these also reg- time, many archives around the world inhabit a fine ulate the conditions for the latter, i.e. understanding line between the risks of neglect and decay on one the archives as sites of knowledge production and hand, and privatisation and fetishisation due to their political resistance, interpretation and challenge to rising market value on the other hand. The archival the ruling exclusive classifications. treasure hunt to satisfy the growing demand of insti- In recent years, we have witnessed the revolu- tutions in the old and new imperial centres is just one tionary redefinition of archives through digitisation

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and online sharing. Digitisation and online sharing are dedicated to the critical potential of the digital. of vast amounts of archival documents can however, Wolfgang Ernst argues for the understanding of the when they are done with no reflection, easily turn archival order as an alternative to the dominance of into a pseudo-democratic end in itself, resulting in an the narrative history of the traditional nation state; overload of the material available online. Such mis- while Jeffrey Schnapp sees as the priority for digi- guided generosity can solidify rather than challenge tal humanists the design of an effective mechanism the established Western narratives when colonised to activate or sustain cultural memory, as well as the archives merely supplement and thus confirm their urgency of so-called “crisis archiving”. Lawrence primacy. Yet, if understood as a creative chance, digi- Abu Hamdan points out the biased nature of surveil- tisation can become a true decolonial tool. As navi- lance technologies that establish new hierarchies of gation and retrieval become of critical importance information as well as “noise” which is disregarded due to the abundance of digitised material, scholars for its incompatibility with the dominant narratives of within the field of digital humanities, as well as art- violence in “troubled” neighbourhoods. ists, point out new algorithms and semantic search In the following section, Ana Longoni (Red as new more welcoming guides rather than obsolete Conceptualismos del Sur), Crystal Fraser and Zoe gatekeepers. While progressive code writers will Todd, and Karol Radziszewski describe three differ- undoubtedly continue to play an indispensable role ent geo-political situations where the authors them- in making the archives more accessible and demo- selves belong to the communities they speak for. cratic, most of the decolonisation is, however, to be Ana Longoni presents the Southern Conceptualisms done on the epistemological level. It is precisely here Network’s sustained efforts to reactivate the dis- that artists play a crucial role when they engage with ruptive power and catalysing potential of the Latin archives and unearth testimonies which put the offi- American conceptual practices (which are continu- cial historical narrative into question or reframe what ously neutralised by both state violence and market is seemingly known and highlight its inner contradic- logic) as an antagonistic force within contemporary tions to resist simplifying homogenisation. cognitive capitalism. Crystal Fraser and Zoe Todd The contributions in this publication can be confront the reader with the difficulties of gaining split into four sections. The three opening texts access to the archival material connected to the

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Indigenous populations guarded by the institutions In the closing section, two essays were written in of the settler state of Canada. Karol Radziszewski connection with the Archives of the Commons semi- proposes strategies for resistance against homopho- nar (Madrid, 11 and 12 December 2015) organised bia on one hand and rainbow colonisation from the by Museo Reina Sofía, Fundación de los Comunes West on the other, by revealing daring queer ances- (Commons Foundation) and Red Conceptualismos tors in Central and Eastern Europe as well as in other del Sur (Southern Conceptualisms Network). A col- “peripheries” worldwide. lective text by Mela Dávila and Carlos Prieto del The third section consists of three contribu- Campo(Museo Reina Sofía), Marisa Pérez Colina tions by decolonial advocates self-reflecting on (Fundación de los Comunes) and Mabel Tapia (Red their privileged positions with regards the mate- Conceptualismos del Sur) offers an overview of the rial they have access to. The common question for core areas touched upon during the conference Rona Sela, Filipa César and Andrea Stultiens con- such as the politics of the archives, archive econo- cerns undoing, or at least avoiding perpetuation, of mies, and techno-political devices. Carlos Prieto del the neo-colonial epistemologies. Rona Sela reflects Campo expands on this by unpacking the Museo on projects by both Israeli and Palestinian artists, Reina Sofía’s vision of the archive as “an engine for including herself as an Israeli scholar, de-masking political activation in the present”. He discusses how the ideological framing of Palestine-related archi- archives of the commons can serve as a vessel for val material in Israeli archives. The contribution by collective memory and how they can be opened up to Filipa César, based on her work with film archives the general public. from Guinea-Bissau, continuing the work begun The collective project Luta ca caba inda dis- by Chris Marker and others decades ago, points to cussed by Filipa César acknowledges that the ongoing battles for the recognition of certain mate- struggle is not over yet; similarly, this publication rials as relevant, despite continuous dismissals by is considered as the beginning of a series rather the authorities. Andrea Stultiens shares with the than a final word. Archives play a crucial role for reader her eye-opening experiences during her L’Internationale and its institutions who hope not long-term engagement with photographic legacy in only to develop progressive institutional practices Uganda leading to the HIP Uganda project. for their own archives but also to raise a discussion

L’INTERNATIONALE ONLINE – DECOLONISING ARCHIVES – 7 DECOLONISING ARCHIVES beyond this first and therefore necessarily limited account. New voices overcoming the Eurocentric legacy of L’Internationale will be invited in the future to contribute to, and continue, the discussion started here.

L’INTERNATIONALE ONLINE – DECOLONISING ARCHIVES – 8 RESOURCES — L’INTERNATIONALE BOOKS RADICALLY DE-HISTORICISING THE ARCHIVE. DECOLONISING ARCHIVAL MEMORY FROM THE SUPREMACY OF HISTORICAL DISCOURSE

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Unfolding the layers discursive will. Just like in computing, a rewriting of code in the operating system would make the whole of the “colonised” archive function collapse. It is exactly the non-discursive and non-narrative structure of the archive which makes In cultural discourse, in the art world and in politi- it such a uniquely powerful institution. Therefore, cal activism, the term “archive” has mostly become acts such as revealing the genealogy of the institu- a generalised metaphor for different kinds of col- tional archives as grounded in the imperial nation lections of traces from the past. While in public dis- states have to operate on an epistemological level, course the archive is mostly (mis-)understood as through non-invasive re-reading, un-covering the the “content” of the archive (its records, its data ties between archive and narrative history as master banks), in archival sciences the term rather refers to discourse of the traditional nation state. the organising structure. Against intellectual or artis- Digital archiving, as Friedrich Kittler has pointed tic fantasies of “the anarchival” (Fürlus & Giannetti out, could break up the alliance that the institutional 2014), the digital archive is still rigorously rooted in archives have maintained with historiography and its techno-mathematical structure, while the dynar- historicism since 1800. Moreover, the chronologi- chive lies between the archival and the anarchival cal sequence could be replaced by an order of co- spheres. presence once their combinatory connections were The administrative archive in the strict sense located (Kittler 1996, p. 75). is a read-only memory. One cannot simply take out The digitisation of vast amounts of archival archival records because they are politically incor- records brings a creative chance. Applying creative rect, neither can the archival order as such (key term algorithms to experiment with new forms of navigat- “tectonics”) be easily changed according to a new ing enormous amounts of archival signals and data

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(textual or audio-visual) results in new insights by rise of research-based history as an academic dis- mathematical intelligence like entropy values, sto- cipline co-originated with the new impulse to go chastic analysis and similarity-based retrieval. Such (back) to the archives. The rise of the modern nation operations are possible in computational space with- state required a foundational narrative of its tempo- out destroying the material and symbolic order of the ral genealogy, resulting in a re-organisation of the existing archive. archives “in the name of history” as a new discourse Similar media-archaeological approaches to the – provided by Georg Wilhelm Friedrich Hegel, in the digitised archive allow new readings of the archive. case of Prussia, with a proper philosophy of history Yet the archive – with the new digitised infra-struc- which gave the state a deep-temporal sense and tures linked online to data circulation, storage, pro- teleological (“metahistorical” in Hayden White’s cessing and surveillance on the Internet – is at the sense) justification, with the present state as its same time colonised in new and unexpected ways by happy end. Via the historical discourse, the admin- non-human agencies like the NSA (National Security istrative state which is an infra-structural function Agency). What look like creative applications of soft- (and represents the symbolic order of power) could ware in big data research by digital humanities are be transformed into an imaginary called “nation”. nothing but a side-product of data processing avant- gardes developed by intelligence services. Archival order as non-narrative De-historisation: De-coupling alternative to historiography the archive from the nation state Beyond the “cultural turn” of the last two or three decades concerned with cultural and collective The modern archive is closely related to the territo- memory, the critical focus has now shifted to the rial nation state. With scholars like Jules Michelet analysis of techno-cultural temporal dynamics of in France and Leopold von Ranke in Germany, the social, administrative and technological systems. The

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archive is set in motion (Ernst 2010). Let us therefore early twentieth century avant-garde which “ques- address the archive not as a coherent depository for tioned all models of memory (especially narrative memory supply but instead identify its multiplicity of ones), favouring openly dynamic, discontinuous temporal layers with and within memory technologies. forms contiguous with the modern means of tech- Since the notion of the archive has been extended nological reproduction – especially photography from the symbolic order (alphabetical texts) to the and film” (Ernst 2010). An archival collection of pho- storage of signals (like physical sound and imagery), tographs as accumulation (different from private a memory has emerged which is capable of address- photo albums) does not yet constitute a meaningful ing human perception in a kind of repeatable hyper- story; on the contrary, it rather deconstructs narrative. presence. This does not only re-present, but actually Archival logistics of ordering images undercut the enacts different aggregations of the past. iconologic narrative by discrete counting (alphanu- My epistemological intention is to liberate archi- meric metadata). Here, the tight coupling of symbolic val memory from its reductive subjection to the dis- evidence in forms of oral or literary “history” is being course of history and re-install it as an agency of replaced by a loose archival coupling (truly “mediatic” multiple temporal poetics in its own right. In the con- in Fritz Heider’s terms), a process that – according to text discussed here, (media-) archaeology is not just Allan Sekula’s analysis – started already in the nine- an auxiliary discipline to history, but as well a genu- teenth century (Sekula 1986, p. 58). inely alternative model of processing data from the material archives of the past. While historical discourse strives for narrative coherence, the archaeo- Monumentality logical aesthetics deals with discrete, serial strings as suspense (epoché) from of information which – in an age of computing – gains new plausibility against literary forms of historical the temporal economy imagination developed in the nineteenth century. As data bank structures, the archival mode of memory (record management) is a non-narrative Against the background of archives which are alternative to historiography, in the best tradition of increasingly in motion, let us try a counter-analysis

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Magnetic core memory, a technological form of dynamic short-time archiving in early digital electronic computing. Photo: Benjamin Renter. Copyright: Media Archaeological Fundus at Humboldt-University, Berlin (Media Studies). L’INTERNATIONALE ONLINE – WOLFGANG ERNST – 13 RADICALLY DE-HISTORICISING THE ARCHIVE – WOLFGANG ERNST which defends archival resistance. The archive might With increasing mobility and acceleration, now – as a retroactive effect – re-discover its virtue should we rather value the immobile archive for its as institutional monument: to take out values from the time-resisting virtue? Archival resistance against ever-accelerating circulation and electronic economy, change is indeed a virtue in the age of networked to arrest, fix and maintain chosen items; thus turning documents which dissolve into memory-buffered floating records from contextual documents (files) into streaming data. The acceleration counter-reactively discrete monuments (as defined in the “Introduction” leads to a wish to arrest movement for longer inter- to Michel Foucault’s Archaeology of Knowledge), into vals or at least for moments – a “katechontic” coun- spatio-temporal “chronotopes” (Mikhail Bakhtin), ter-aesthetics usually associated with the archive. epoché as sublation, taken out of time. But archives of movement, in the age of YouTube and Contrary to the archives of physical memory UbuWeb, themselves get in motion (Knörer 2011). media (paper records, celluloid film, magnetic tape) The idea of an archive in motion is a paradox: characterised by limitations of access due to the the archive is traditionally that which arrests time, fragile nature of these documents (Prelinger 2009, which stops all motion. For nineteenth century his- p. 271), the current liberal, broadened, electroni- torians, the archive was in its essence an institution cally-biased (thus liberated from spatial and material that made it possible to access “frozen” sections of restrictions) use of the term archive, the online data past time. But the technological developments in the collections labeled archives could in fact, as Frank twentieth century – the introduction of the phono- Kessler and Mirko Tobias Schäfer proposed, be bet- graph and film – have inevitably forced the archive to ter characterised as perpetual transmission rather confront the question of mobility, both practically and than permanent storage (Kessler & Schäfer, p. 276). conceptually. Later, the transition from an archive of What used to be sacred spaces, secluded from public motion to the notion of an archive in motion is associ- insight – the arcana of political administration and of ated with the advent of computer technologies and their archival memory – is now directly wired to the ultimately, the Internet, where constant transfer and communication circuit of the present. The archive updating functions as well as “live” communication loses its temporal exclusivity as a space remote from and interaction redefine the temporality of the archi- the immediate present. val document itself.

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Eigenzeit: Archival resistance As long as the archive has been distanced from public discourse, archival knowledge has been an internal against historical time privilege of governmental agencies. But such traditional archival secrecy is not just an old-fashioned power instrument to be overcome in favour of open Archives have their inherent temporality, their access, but actually there is a kind of archival secrecy Eigenzeit as memory institution and storage technol- of a new kind, hidden in technology itself (van Tijen ogy. The archive oscillates between “temporalities” 1994). and “tempo-realities”. Emphatic storage waiting for (re-)circulation belongs to the logic of late capitalism and thus is part Conclusion: Archive in the age of a memory economy. In a contrary way, a virtue of the traditional archive has been exactly that it was of dynamic user culture outside (historical) time. This refugium, this temporal exile from history, is in fact a kind of archival resistance against complete mobility which is the sig- While Émile Durkheim suggested a society based nature of modernist discourse. The old institutional on emphatic memory, Niklas Luhmann replaced this archive served as a bedrock against the complete sociological perspective for the age of communi- mobilisation of records, as opposed to distributed cation media by defining society rather as a form of digital archives and their open access on the Internet communication. Applied to memory agencies and today. More and more, archives find themselves especially the “digital archive”, this demands a new both inside and outside the “Web 2.0” or “social interpretation of its epistemological and aesthetic Web” economy. A gap opens between the necessity dimension as well. Although the traditional archival for archival services for the public versus defending format (spatial order, classification) will in many ways archival secrecy (the arcanum). necessarily persist, the new archive is radically tem- By becoming electronically-accessible “online”, poralised, “ephemeral” (Chun 2011), multi-sensual, the archive is being deprived of its traditional power. corresponding with a dynamic user culture which is

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less concerned with records for eternity than with — Kessler, F. and Schäfer, M.T. 2009, “Navigating YouTube: order by fluctuation. As a result, new challenges arise: Constituting a Hybrid Information Management System”, in P. Snickars, P. Vonderau (eds.), The YouTube Reader, what if the public will prefer to use Google rather than National Library of Sweden, Stockholm, pp. 268-74. institutional Internet portals to get access and infor- — Kittler, F. 1996, “Museums on the Digital Frontier”, mation on national, academic and cultural memory? in T. Keenan (ed.), The End(s) of the Museum, Fondació Antoni Tápies, Barcelona, pp. 67-80. In other words, will the World Wide Web, Web 2.0 and — Knörer, E. 2011, “Trainingseffekte. Arbeiten mit YouTube the emerging Realtime Net replace the traditional und UbuWeb”, Zeitschrift für Medienwissenschaft, vol. 5, guardians of memory such as archives, libraries and no. 2, pp. 163-66. — Prelinger, R. 2009, “The Appearance of Archives”, museums, just as Internet radio and IPTV (Internet in P. Snickars, P. Vonderau (eds.), The YouTube Reader, Protocol Television) are replacing the traditional National Library of Sweden, Stockholm, pp. 268-74. broadcasting media? — Sekula, S. 1986, “The Body and the Archive”, October, no. 39, pp. 3-64. — van Tijen, T. 1994, “We no longer collect the Carrier BIBLIOGRAPHY but the Information”, interviewed by G. Lovink, trans. — Chun, W. 2011, “The Enduring Ephemeral, or The Future J. Boekbinder, MediaMatic, vol. 8, no. 1, viewed Is a Memory”, in E. Huhtamo and J. Parikka (eds.), 15 December 2015. Media Archaeology. Approaches, Applications, and — White, H. 1973, Metahistory: The historical imagination Implications, University of California Press, Berkeley, in nineteenth-century Europe, The Johns Hopkins University Los Angeles, London, pp. 184-203. Press, Baltimore/London. — Ernst, W. 2010, “Cultural Archive versus Technomathematical Storage”, in E. Røssaak (ed.), The Archive in Motion. New Conceptions of the Archive in Contemporary Thought and New Media Practices, Novus, Oslo, pp. 53-73. — Foucault, M. (1972—2002), Archaeology of Knowledge, trans. A. M. Sheridan Smith [*1972], Routledge Classics, London / New York. — Fürlus, E. and Giannetti, C. (eds.) 2014, AnArchive(s). A Minimal Encyclopedia on Archaeology of the Arts and Media, Edith-Russ-Haus für Medienkunst, Oldenburg. — Heider, F. (1927—1959), “Thing and medium”, in F. Heider, On perception, event-structure and psychological environ- ment (Selected papers, pp. 1-34). Psychological Issues, no. 1, pp. 1-123.

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BURIED (AND) ALIVE

JEFFREY SCHNAPP BURIED (AND) ALIVE – JEFFREY SCHNAPP

Like the royal burial grounds with which they were least, this expanded sensorium of cultural memory once associated, archives were born as sites of long- is accompanied by new forms of capture that allow term conservation whose contents were thought to for time-scales that would have been inconceivable have transcended temporal bounds. Few categories only a century ago: from documentation of macro- of materials were believed to be worthy of elevation events that occur over centuries (like environmental into their supratemporal ether. There was little space changes) to that of micro-events that occur on the for documenting the evanescent or contested fea- scale of seconds (viz. snapshots and tweets). tures of human existence, not to mention the actions The above narrative might smack of triumpha- of contemporaries or peripheries, in the archivum. lism if the march towards democratisation, prolifera- In the course of their modern history, archives tion, and an expanded concept of the cultural record have undergone a democratisation that touches didn’t have nested within it a series of challenges every aspect of their existence, from the nature of that are also opportunities for renewal. The latter the documents collected to practices of organisa- encompass a rethinking of uniform processing and tion and consultation to the design of the edifices conservation practices; new models of search, dis- that house them. Archives now collect more varieties covery, and retrieval, as well as information use and of media and materials than in any preceding epoch. sharing; outreach to audiences that are infrequently These materials are increasingly accessible both on- served by traditional brick-and-mortar archives; an site and off-site. Analogue objects lead double lives augmented approach to description and catalogu- alongside digital surrogates surrounded by growing ing that treats every cultural object not as a singular haloes of metadata, data, and capta. They do so in an entity but as a web of relations; and even a rethink- array of media that extends cultural memory beyond ing of the very notion of “archive” along more flexible the hand and eye to, for instance, the ear. Last but not and fluid lines. In short, a seismic shift well beyond

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the scope of these brief reflections in which I would the fine-grained knowledge that 1. The Digital Archive like to consider three specific challenges: questions has the potential to make contem- of Japan’s 2011 Disasters (JDA) is an online of quantity, scale and fragility. porary materials matter is associ- portal to digital materi- First, quantity. By their very nature, modern insti- ated with the lived experience of als documenting the natu- tutions of memory have always been hoarders. Added participants and witnesses, as ral and man-made disasters that began in Japan to the ever-growing mass of the analogue and often well as communities of expertise on 11 March 2011: duplicating them, digital archival assets have driven such as researchers and schol- www.jdarchive.org/en/ home a point that already applied to their analogue ars. To delay their access until home predecessors: namely, that mere aggregation of some hypothetical future moment when professional materials and/ or their digitisation is not, in and of archivists will have had the time and (hypotheti- itself, a gesture of conservation, not to mention an cal) resources to process them can amount to a de effective mechanism for activating or sustaining facto death sentence. A better option, particularly in cultural memory. Storage is easy; activation is diffi- the case contemporary multimedial repositories, is cult. But a cultural heritage that lives on only as stor- to involve such interested communities in the con- age, whether in warehouses or in server farms, is not struction and design of such animated archives right a living cultural heritage in any meaningful way. So from the start. Archives live or die, are remembered how to manage the inevitable and, indeed, welcome or forgotten as a function of being sustained by liv- overflows? ing communities, and it is those communities them- There is no single or simple answer because selves that must be brought into the picture in order archives come in multiple shapes and sizes. One to reduce the loss of living knowledge (which is, in thing, however, seems certain: however invaluable, turn, one significant key to future value and use). To traditional top-down approaches to the processing of clarify: it is not a matter of simply crowdsourcing the materials and the construction of archival reposito- labour of processing, but rather of embracing data- ries are, at best, an incomplete solution. This, because base designs that balance inreach with outreach, the of the quantities and variety of materials involved as development of rigorous and reliable core records well as the fragility of their “qualities.” As the Digital with the input of communities of expertise and other Archive of Japan’s 2011 Disasters 1 suggests, much of interested/ affected parties.

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2. For more information metaLAB 2 played a key role in information, and build the sorts of human-scale on metaLAB: http://meta- shaping the Digital Archive of arguments that contribute to the advancement of lab.harvard.edu Japan’s 2011 Disasters into a pro- knowledge. totype of what my colleagues and I like to call “cri- The challenge intensifies in the case of vast, sis archiving”. Known as the JDA, the project seeks interconnected, multimedial digital repositories. to expand the compass of how memories are built in, There was already far too much to sift through and attend to, and serve the present while, at the same make sense of; now there is exponentially more. But time, ensuring the transmission of the past to future here a new set of inventorial affordances (based generations. Participatory in character, federative in upon data, metadata, and capta) makes it possible design (involving partners from Yahoo! Japan to the to operate on new and expanded scales thanks to National Diet Library and Archive.org), encompassing computational techniques. Among these are tools media types from tweets and photographs to testi- that translate vast numbers of objects into aggregate monials generated on-site to websites and video, the visualisations that can be viewed from the perspec- JDA is made up not only of documents but also and tive of a multiplicity of data fields. The resulting rep- most of all of the beehive-like curatorial and interpre- resentations tell new stories on macro scales about tive activities of the community that animates it: a matters such as the history of collecting practices community that includes everyone from victims and or institutions or taxonomical shifts. But they are activists to policymakers and journalists to students, not self-evident objects of human experience. On scholars, and environmental scientists. the contrary, they are technical constructs, abstrac- A second challenge is cognitive and pertains to tions that have to be critically crafted by means of a both the macro and micro scales of experiencing cul- multitude of tools and techniques in order to gener- tural objects. Of course, it goes without saying that ate artefacts that enhance knowledge, persuade, or archives assume the form of extremely large assem- make sense. This is not merely a technical task: it is blages. Navigating them would lie well beyond the the sort of cultural task being undertaken by digital capabilities of the human mind were it not for sup- humanists that involves technology, design, and a ports such as inventories and finding aids which clear-headed sense of how to reconnect the world allow researchers to burrow in, locate and retrieve of open archives back to that middle stratum where

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A still from metaLAB (at) Harvard's Teaching with Things demonstration project (2013; project PI's Battles/ Loukissas/Schnapp) with a multimedia descriptive record on the left and a timeline of annotations on the right.

A still from metaLAB (at) Harvard's Teaching with Things demonstration project (2013; project PI's Battles/ Loukissas/Schnapp) showing an “artifac- tual interface” that allows visitors to annotate features of a three-dimensional scan of an ancient Greek ostrakon.

Fig. 0 Caption TK L’INTERNATIONALE ONLINE – JEFFREY SCHNAPP – 21 BURIED (AND) ALIVE – JEFFREY SCHNAPP

culture resides and where human experience finds researchers. But, for the very same reasons, digital its home. assets are volatile, menaced by bit rot, and subject to Integral to that task, but at the micro level, is the misunderstanding and manipulation. Digital-specific need for a relational approach to the description of techniques of conservation are still in their infancy. objects, which is to say, the need for a concept of The oldest digital files currently preserved date back search that focuses upon the retrieval, not of indi- less than half a century: a mere drop in the bucket vidual items, but of the networks of interconnec- from the standpoint of cultural record. tions that run through them. For much of the history The challenges we face today are multiple: to of modern cultural institutions, the conventional acts layer a diversity of representations on top of the stan- of reduction of works to title, creator, date, snapshot, dard descriptors so as to better approach the full etc. were viable because the data were only visible sensorium – the weight, the texture, the feeling – of on the inside. Collections data served the needs of cultural objects; to unjam data resources through inventory management and were the near-exclu- open APIs (Application Programme Interface) and sive province of museum staff. But even as invento- linked data environments so as to give rise to virtual ries have migrated out into public view on the World realms of curation where researchers can work with Wide Web, modes of description and representa- open collections data and stories can be told through tion remain much as they were in the pre-digital era: and with individual objects (excavated down to the top-down, tethered to standardised schemes, based nano scale) as well as with collection-sized aggre- upon atomised approaches to objects. gates. Every object is a collection. Every collection A third challenge has to do with fragility. Digital is a social network of things. Objects and collections materials may occupy little space and be readily have friends. It is time to mobilise them as well as to resizable, sharable, and reproducible; the metadata, “describe” them through representations that attend data, and capta that swirl around them may allow to the acoustical and haptic (not just the ocular). for new modes and scales of argument; the condi- Every burial ground needs to be cared for con- tions of use and access that they enable may make tinuously if it is to endure. it possible for everyone from high schoolers to local historians to become archive builders and archival

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H[GUN SHOT]OW C[GUN SHOT]AN I F[GUN SHOT]ORGET?

LAWRENCE ABU HAMDAN H[GUN SHOT]OW C[GUN SHOT]AN I F[GUN SHOT]ORGET? – LAWRENCE ABU HAMDAN

The contribution by Lawrence Abu Hamdan is to be found here.

L’INTERNATIONALE ONLINE – LAWRENCE ABU HAMDAN – 24 RESOURCES — L’INTERNATIONALE BOOKS

ANOTHER MAPPING OF ART AND POLITICS. THE ARCHIVE POLICIES OF RED CONCEPTUALISMOS DEL SUR

ANA LONGONI / RED CONCEPTUALISMOS DEL SUR ANOTHER MAPPING OF ART AND POLITICS – ANA LONGONI / RED CONCEPTUALISMOS DEL SUR

Red Conceptualismos del Sur (known as RedCSur or also carried out several collective projects, such as a the Southern Conceptualisms Network) 1 is an inter- collective research project on art and politics in Latin national platform of work, thought and collective America in the 1980s called “Losing the Human Form” positioning that currently has over fifty members (including an itinerant exhibition in Madrid, Lima and in different countries of Latin America, Canada and Buenos Aires, and a “glossary” volume published in Europe. It was founded at the end of 2007 by a group of Spanish and English), among others. researchers and artists with concerns about the need RedCSur considers that, as is the case in other to intervene politically against the processes neutral- emancipatory projects, the catalysing potential of the ising the critical potential of a set of what we could call so-called “conceptual practices” was broken up by conceptual practices that took place in Latin America the force of State violence and market logic. The dif- from the 1960s onwards. Today, the network functions ferent attempts to reactivate this disruptive power in four nodes (Research, Archives, Publications and have been interrupted by the continual overlap of Web), which enable us to operate in diverse formats diverse mechanisms: the inoculation of collective or spaces of collective work. The network has held so memory from State systems; the defensive oblivion far three plenary meetings (Brazil, 2007; Argentina, assimilated by civil society; the depoliticisation of 2008; and Chile, 2009) to discuss our Founding subjectivities in restructuring neoliberal economies; Manifesto, and outline our major working guidelines. the aestheticisation of counterculture, etc. More than Due to the difficulties of gathering so many people, we forty years on from the outbreak of dictatorships in have opted for virtual meetings (plenary once a year, a significant part of Latin America, the ensuing trau- and node meetings once a month) and the annual matic effect still smothers intellectual life in our soci- election of delegates charged with the general coor- eties and immunises the poetic-political potential of 1. See redcsur.net/ dination of the Network. We have those experiences.

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“R. Archivo de la Resistencia Visual” 1973-1989, Chile. (R. Archive of Visual Resistance 1973-1989, Chile). Inventory, digitalization, preservation (Project in progress).

Archives which RedCSur is currently working on.

“R. Archivo de la Resistencia Visual” 1973-1989, Chile. (R. Archive of Visual Resistance 1973-1989, Chile). Courtesy: Antonio Cadima (Tallersol), Havilio Pérez (APJ), Cucho Márquez (APJ).

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RedCSur stemmed from the will to contribute to this their material conditions, are placed in a precarious critical power. Our main objective, therefore, is to vin- position, or are dispersed and cannot be consulted dicate the presence of sensitive memory in those publicly. We set out to defend their inalienable state – experiences in order for them to become an antag- namely, their integrity and indivisibility – to generate onistic force inside the framework of contemporary conditions for their preservation and their availability cognitive capitalism. for consultation by all interested parties, in addition RedCSur is aware that museums, collectors to fostering their local registration wherever expe- and public and private art institutions participating riences occur that are encompassed in the archive in the international contemporary art system are in by way of alliances with public institutions with an the midst of a strong dispute over visibility, belong- unflinching commitment to the same principles. ing, the management of such artistic and political In association with diverse local and inter- experiences and the accumulation of cultural heri- national agents (universities, museums), these tage. Therefore, it is no mere coincidence that for principles have enabled us to set in motion the some years now we have been witnessing a general institutionalisation of diverse artists’ archives, for process of institutionalisation and canonisation of instance those from the Uruguayan artist Clemente archives, documents and other material and immate- Padín, the Chilean group CADA (Colectivo de rial remnants from these conceptual practices. Our Acciones de Arte / Art Action Collective), the aim is to reconnect the aforementioned experiences Argentinian artist Juan Carlos Romero (which joins in order to reactivate their catalysing potential, and as documentary holdings from various other artists), a starting point in the need to influence this area so the Argentinian artist Graciela Carnevale, the archive as to revert these and other neutralisation strategies. “Memories of Resistance”, which brings together Faced with the pressing need to critically influ- a series of graphic art practices in opposition to ence the current situation, RedCSur upholds an ethi- General Pinochet’s dictatorship, and the Paraguayan cal and political commitment to the revaluation of artist Cira Moscarda, to name a few. all archives on critical artistic practices from Latin This is the way in which we seek to generate and America (placing particular stress on those from the support initiatives for the establishment, preserva- period spanning the 1970s and 1980s), which, due to tion and right to use document archives linked to

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the said experiences, and we aim to set in motion a and also addressing the implementation of thought circuit of Network Archives that share and facilitate and creation in a context of cognitive capitalism. public access to documents. We believe in the press- Therefore, RedCSur endeavours to undertake a crit- ing need for collective and decisive intervention to ical and active part in the geopolitical diagram of put a stop to the continual expropriation, dispersion global forces in the cultural economy. and destruction of documents and collections. We — Producing the memory of experience. Tracing, join- feel that the policies for forming archives must not ing, organising and reinterpreting the documents only be concurrent with an acknowledgement of the produced by the aforementioned experiences is effects of colonialism, but also with the persistence necessary but not enough, for these tasks by their of colonialism in Latin America. very nature only enable access to formal outward We lay stress on – even more so in the current appearances and commonplace representations. political climate across a number of the continent’s To unblock their interrupted critical power, there is countries – the urgent need to generate State poli- a need to confront their immaterial memory; there- cies and common efforts that are synchronised and fore, it is essential to recover the sensitive register coordinated and strive to establish a network of pub- of the experience and the attachments that arise lic and decentralised archives. as a direct form of intervention in neglect. This These objectives of our archive policies cannot also entails rehabilitating the disruptive force from be taken into consideration without interactions with the cultural context containing the conditions of other approaches in our work that are inseparable possibility. from one another: — Activation experiments. We want to generate action — Research policies. We take research to be, above strategies that update the polluting and catalysing all else, a political and not merely an academic power of these experiences, which involves mov- exercise. For us research is to restore, name and ing beyond their mere visibility, not solely because generate meaning around a set of poetic-political these practices are irreducible in their mere objec- experiences whose critical power has been nulli- tuality, but because we are more concerned with fied. This means facing up to and taking charge of vividly connecting them to the present. We want the tensions brought about by policies of neglect, to create a new laboratory of experimentation with

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Archivos en Uso platform www.archivoenuso.org

Juan Carlos Romero, Violencia (Violence), poster, 2000. Parte del Archivo de Artistas Juan Carlos Romero (Part of the Archive of Artists Juan Carlos Romero).

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the ability to encompass publications, exhibition productions between 1965 and 2010), the archive projects, public discussions and museum initia- of creative practices from the human rights move- tives. Regardless of the format, these interventions ment in Argentina since the last military dictatorship, endeavour to set up different notions of history, the archive belonging to the Chilean group CADA heritage and the transmission of knowledge and and, finally, the archive of underground magazines duly questioned powers. produced during the last dictatorship in Argentina (1976-1983). Numerous other archives are also being A key commitment for RedCSur is advocating the col- prepared, and are all the outcome of lengthy research lectivisation of materials, and we look to devise col- processes. lectivisation devices and to disseminate archives Consequently, through its actions RedCSur that flow beyond artistic realms. As a result, we have seeks different possibilities in thinking, doing, posi- promoted Archives in Use, an experiment that strives tioning, conceiving, exhibiting and politically histori- to grant availability and public access to archives cising the disruptive force and the critical capacity of from research projects set up by RedCSur, and those the artistic-political practices that have taken place that are in collaboration with other platforms, for in Latin America. instance the Study Group on Art, Culture and Politics in Modern-day Argentina, from the Gino Germani Translated from Spanish by Neil Fawle Research Institute of the Faculty of Social Sciences at the University of Buenos Aires. In addition to online consultation, Archives in Use are also free of charge and available either temporarily or permanently on computers in libraries, documentation centres, sites of memory, exhibition spaces and education centres by simply ordering through a contact email. We have already collectivised four document archives in this format: the archive on the Argentinian artist and sociologist Roberto Jacoby (his divergent

L’INTERNATIONALE ONLINE – ANA LONGONI / RED CONCEPTUALISMOS DEL SUR – 31 RESOURCES — L’INTERNATIONALE BOOKS DECOLONIAL SENSIBILITIES: INDIGENOUS RESEARCH AND ENGAGING WITH ARCHIVES IN CONTEMPORARY COLONIAL CANADA

CRYSTAL FRASER AND ZOE TODD DECOLONIAL SENSIBILITIES – CRYSTAL FRASER AND ZOE TODD

During recent months, the idea of reconciliation church archives is complicated, given ongoing set- has been brought to the forefront of the Canadian tler-colonial realities that frame and govern archives socio-political terrain, largely ensuing from efforts in Canada. To decolonise the archives requires an to examine the historical experiences of Indigenous erasure or negation of the colonial realities of the peoples in the Indian Residential Schools (IRS) sys- archives themselves. Given the inherent colonial tem. This was a system that sought to eliminate realities of the archives as institutions, any effort to Indigenous cultures, in part, by forcibly removing decolonise or Indigenise the archives in Canada can children from their families to obtain a state-based therefore only ever be partial. education, often far away from their homes to institu- In theorising the idea of ‘decolonising’ the tions characterised by substandard and abysmal liv- archives, we are faced with a number of structural ing conditions. The shift to reconciliation and efforts issues that must be unpacked and we do so in the to achieve a “nation-to-nation relationship” has Canadian context. In this short piece, we first ques- prompted a great deal of attention and new question who controls these archives? Second, we exam- tions of access, content, and ownership of historical ine the archival holdings themselves, pointing to both documents dealing with the history and legacies of the absent within the holdings themselves and the IRS. The Truth and Reconciliation Commission (TRC) gaps in our knowledge about archival holdings. A final battled the federal government for access to files question asks: should we have the goal of ‘decolo- and documents in possession of the Government of nising archives’? Acknowledging the inherent colo- Canada pertaining to the centuries-old history of IRS nial paradigms that inform and shape the archives in Canada, illustrating some of the nuances and com- as institutions, we propose moving away from the plexities inherent in the question of ‘decolonising the question of decolonising the archives themselves archives’. For Indigenous peoples, access to state or and suggest instead applying a historically-informed

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critical decolonial sensibility in our engagement with access materials. Once documents are received, they the archives. are often heavily redacted to the point of being use- less. Fraser’s own experience accessing records Who Controls from Library and Archives Canada (LAC) for her doctoral research on the history of IRS in the Canadian the Archives? Arctic was characterised by persisting roadblocks. Spanning over 2013 and 2014, an ATIP application In Canada, there are a variety of archives which con- was lost (and re-submitted), heavily-redacted elec- tain information pertinent to Indigenous nations, peo- tronic files were provided and rendered almost obso- ples, and communities. Historical records are housed lete, and the remainder of the requested collection in a variety of locales: state archives (national, pro- was placed on hold, for review, in Ottawa. But upon vincial/ territorial, and municipal); church archives travelling nearly 3,000 kilometres to access the col- (curated and controlled by religious orders, such as lection, Fraser was informed that the files had been the Oblates of Mary Immaculate, the United Church of checked out by another researcher for an undeter- Canada, the Anglican Church of Canada); university mined amount of time. archives; Indigenous governance organisations; and Due to the tenuous and highly sensitive nature a variety of corporate and private archives. of these documents, coupled with the fact that very There are numerous ways that access to archives few researchers have analysed documents reflect- and materials is restricted. The Access to Information ing this modern history, the boundaries imposed and Privacy (ATIP) Act regulates how individuals may around ‘sensitive’ research are troubling. To access access archival holdings. Ironically, there are numer- archival materials in Canada is to move across geo- ous claims that the implementation of privacy acts by graphic, political, and even linguistic boundaries. It is government agencies is in fact heavily restrictive. In to contend with the structures and rules that govern recent years, the experiences of scholars, journalists, each organisation; researchers are forced to grapple lawyers, and others filing ATIP (or provincial varia- with power structures that trickle down from bureau- tions) and Freedom of Information and Privacy (FOIP) cracies to individuals that hold sway over the mate- Act, have been to wait for onerous periods of time to rials, facilities, and accessibility. The new National

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Centre for Truth and Reconciliation Archive housed Archival Holdings: at the University of Manitoba, which opened in late 2015, is an adequate starting point for conversations The Unknown and Missing about re-defining archival challenges and its political burdens, especially with its extensive online and A fundamental challenge lies in the fact that the digitised records, but, in all its innovation, there are majority of archival documents in Canadian archives limitations even to this collection. have been produced by non-Indigenous people: In addition to restricting access to public docu- namely white men who dominated exploration, politi- ments, there are questions about the ownership of cal and other ‘great men’ tropes of Canadian history. these materials. In 2008, LAC announced a partner- Inspired by the well-known and provocative article ship with the corporate entity Ancestry.ca to digitise by Gayatri Spivak, Canadian historians have ques- LAC’s holdings. This move raises serious concerns tioned if other less-known historical actors – such as about the vulnerability of people’s information to Indigenous people, women, and children – are able exploitation by private interests, as well as questions to “speak” in archival documents. Archival records about corporations charging citizens for access to produced by Indigenous people prove to be far and public documents. In a time when a) Indigenous peo- few between. We know very little about the lives of ples in Canada are defending land rights against the Indigenous women, apart from a few celebrated operations of national and multi-national corpora- heroines, such as Thanadelthur, Kateri Tekakwitha, tions that seek to extract and profit from non-renew- and E. Pauline Johnson. Even less is known about able resources in unceded Indigenous territories Indigenous children, two-spirited individuals, and and b) when Indigenous nations in Canada rely on liminal figures such as medicine men and women. access to archival materials to articulate court cases Further, the three constitutionally recognised affirming existing legal rights to their territories Indigenous groups in Canada (First Nations, Inuit against large-scale resource extraction projects, the and Métis) are not represented equally in Canadian question of third-party corporate incursions into archives, owing to the different relationships and management of sensitive personal and community histories between the Crown and each Indigenous information is both pertinent and troubling. group. For example, accessing materials pertaining

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View from Library and Archives Canada, Ottawa, October 2014. The presence of Indigenous people persists, despite the tenacity of the settler state. Photo credit: Crystal Fraser.

Library and Archives Canada, October 2014. Photo credit: Crystal Fraser. L’INTERNATIONALE ONLINE – CRYSTAL FRASER AND ZOE TODD – 36 DECOLONIAL SENSIBILITIES – CRYSTAL FRASER AND ZOE TODD

to Métis histories at LAC is difficult, as these materi- most part, however, academics continue to be limited als are held in a decentralised manner. If Indigenous by the overtly biased and one-sided nature of archi- people are present in historical records, they are val records. often depicted as passive bystanders, rarely free agents in their own right and far removed from narra- The Question of Decolonisation: tives that highlight agency or sophistication. To their credit, some scholars have attempted to Transforming the Archives? uncover Indigenous voices through creative reading of state documents and by beginning with the In light of these challenges, we wonder what premise that, as historian Elizabeth Vibert explains, ‘decolonising the archives’ would look like? Is it a “meaning, value, and knowledge itself [is] unstable, worthy goal for Indigenous peoples? To reclaim, uncertain, and open to multiple understandings”. reshape, and transform the archives to meet the While poststructuralist approaches have recently needs of Indigenous peoples requires an honest dominated historiographical analyses, scholars and blunt engagement with the bureaucratic and studying colonialism and post-colonialism in North arcane structures that govern and shape research America have become increasingly invested in read- today. Church, State, and Corporate archives must ing historical documents in creative ways that allow be acknowledged as enmeshed in the specific for deep and fluid understandings of the past. For nation- and history-making endeavours they foment. example, in her work, Todd strives to understand Reconciling the needs and goals of a) Indigenous the role that fish played in mediating relationships communities, nations, and b) Indigenous scholars between Hudson’s Bay Company clerks, Oblate and c) others accessing and using the archives will Missionaries and Inuvialuit in the Paulatuuq region in require ongoing and nuanced conversations about the 1920s-1950s. Reading the archives through the the broader relationships between the Canadian lens of Indigenous legal orders and sentient more- state and Indigenous nations/societies. This neces- than-human agency brings a different perspective to sitates responses that are far deeper than simply the role of animals like fish in shaping and respond- digitising content or hiring Indigenous archivists. ing to colonial encounters in Arctic Canada. For the It also requires us to question how Indigenous

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peoples can meaningfully access, and hold account- There is no single approach in decolonising or able, the institutions running the nation’s archives. Indigenising the archives. It will require nuanced, This engages several simultaneous and sometimes thoughtful, and contextual approaches that tend to contradictory issues: the structure and function of specific relationships, locations, histories and legal- archives remain bound to National imaginaries and political realities. Historian Adele Perry writes that histories. Decolonisation of these structures and “Canadian Indigenous people have routinely pointed to processes can only ever be partial. the disjunctures between the written and oral records Cultural historian Catherine Hall asserts that a of treaties and to the colonial state’s selective and self- fundamental part of the project of decolonisation serving interpretation of their meaning”. Indeed, one must begin with a settler desire to understand cul- way of bring greater diversity to archival spaces and tural difference. She writes that we must “decolonize feature Indigenous voices is to prioritise and expand the cultures through which those systems of repre- historical collections to include a greater number and sentation were produced”. To achieve this, however, range of oral history, whether in the form of transcripts, settler Canadians – scholars included – must be audio or video files, or previously published works. eager to have transparent discussions around white Overhauling archival spaces so they are more privilege, settler colonialism, and structural oppres- attentive to Indigenous needs and desires requires sion that characterise post-secondary institu- a nuanced approach that must be attentive to the tions and Canadian society more generally. Through plurality of Indigenous legal orders, nations, and embracing methodologies of discomfort, we must temporal and spatial experiences that characterise engage in conversation that hinge upon the hard the Canadian settler state. But the question remains questions: how we have benefitted and continue to whether state, church, institutional, or private benefit from the dispossession of Indigenous peo- archives should be Indigenised or decolonised in the ple; how Indigenous communities continue to be the first place. We argue that rather than decolonise the objects of academic research with little consultation archives, the application of a decolonial sensibility and few partnerships; and how we uphold structures is necessary to attend to the complex relationships of oppression that privilege white supremacy over between archives, and Indigenous peoples. Making fair, just, and lawful relationships. archives friendlier to Indigenous people and pursuits

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is essential, but given the complex and sometimes — Hall, C. 2000, “Introduction: Thinking the Postcolonial, Thinking the Empire”, in C. Hall (ed.), Cultures of troubling history of the Canadian nation state and its Empire: Colonizers in Britain and the Empire in the draconian and oppressive approach to and relation- Nineteenth and Twentieth Centuries. A Reader, Routledge, ship with Indigenous peoples, it is essential that we New York. — Spivak, G.C. 1998, “Can the Subaltern Speak?”, in C. Nelson continue to recognise archival spaces, especially and L. Grossberg (eds.), Marxism and Interpretation of state archives, for their original intent: to create Culture, University of Illinois Press, Urbana, pp. 271-313. national narratives that seek to legitimise the nation — McCormack, P.A. 2009, “The Many Faces of Thanadelthur: Documents, Stories, and Images”, in J.S.H. Brown state by excluding Indigenous voices, bodies, econo- and E. Vibert, Reading Beyond Words: Contexts for Native mies, histories, and socio-political structures. History, 2nd ed., University of Toronto Press, Toronto, pp. 329-364. — Miller, J.R. 1997, Shingwauk’s Vision: A History of Native BIBLIOGRAPHY Residential Schools, University of Toronto Press, Toronto. — Alexander, K. 2012, “Can the Girl Guide Speak? The Perils — Milloy, J. 1999, A National Crime: The Canadian Government and Pleasures of Looking for Children’s Voices in Archival and the Residential School System, 1879-1986, University Research”, Jeunesse: Young People, Texts, Cultures, vol.4, of Manitoba Press,Winnipeg. no. 1, pp. 132-145. — Murray, J. 1994, “Métis Scrip Records”, Library — Brown, J.S.H. and Vibert, E. 2009, “Introduction”, in and Archives Canada, 26 August, viewed 2 February 2016. Reading Beyond Words: Contexts for Native History, 2nd ed., — Perry, A. 2005, “The Colonial Archive on Trial: Possession, University of Toronto Press, Toronto, pp. XI-XXXII. Dispossession, and History in Delgamuukw v. British — Brownlee, R.J. 2003, A Fatherly Eye: Indian Agents, Columbia, in A. Burton (ed.), Archive Stories: Facts, Government Power, and Aboriginal Resistance in Ontario, Fictions, and the Writing of History, Duke University Press, 1918-1939, Oxford University Press, Don Mills, O.N. Durham, N.C., pp. 325-350. — Carleton, S., Fraser, C. and Milloy J. 2015, “Assessing — Shoemaker, N. 2006, “Kateri Tekakwitha’s Tortuous Path the National Centre for Truth and Reconciliation”, to Sainthood”, in M.E. Kelm and L. Townsend (eds.), In the Blog Post, ActiveHistory.ca, 26 November. Days of Our Grandmothers: A Reader in Aboriginal Women’s — Carter, S. and McCormack, P.A. 2011, Recollecting: History in Canada, University of Toronto Press, Toronto, Lives of Aboriginal Women of the Canadian Northwest and pp. 93-116. Borderlands, Athabasca University Press, Edmonton, A.B. — Stoler, A.L. 2009, Along the Archival Grain: Epistemic — Gerson, C. and Strong-Boag, V. 2005, “Championing Anxieties and Colonial Common Sense, Princeton University the Native: E. Pauline Johnson Rejects the Squaw”, Press, Princeton, N.J. in K. Pickles and M. Rutherdale (eds.), Contact Zones: — Vibert, E. 1997, Traders’ Tales: Narratives of Cultural Aboriginal and Settler Women in Canada’s Colonial Past, Encounters in the Columbia Plateau, 1807-1846, University UBC Press, Vancouver, pp. 47-66. of Oklahoma Press, Norman.

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IN SEARCH FOR QUEER ANCESTORS

KAROL RADZISZEWSKI IN SEARCH FOR QUEER ANCESTORS – KAROL RADZISZEWSKI

In a private apartment in Warsaw in 2005, I opened Catholic or Orthodox Church. On the opposite end of my solo exhibition titled Fags, which was my artistic the spectrum, Warsaw hosted “Europride” in 2010. coming-out and, at the same time, the first openly This could be perceived as an element of a “rain- homosexual exhibition in Poland. Of course, some gay bow colonisation”, in which “Western gays” brought themes had appeared in the works of other Polish their rainbow flag to Eastern Europe, while a confer- artists before, but never in such a direct and conspic- ence accompanying the event was devoted to so- uous manner. In the same year, I began publishing an called “pink money” – the purchasing power of the irregularly-issued DIK Fagazine. It is the first, and so exclusive gay community. As a result, I concluded that far the only, art magazine from Central and Eastern there was a serious need to prove that queer culture Europe devoted entirely to the subject of masculin- existed in Poland already during the socialist era, that ity and homosexuality in the broad context of culture we were “queer before gay”. Consequently, my goal and art, with particular focus on the region. For a long has been to recover this aspect of the past as part of time, in Poland, as well as in many other post-socialist Poland’s cultural history in general, not just as an ele- States, homosexuality remained taboo after the polit- ment of queer history. ical transformation; and it was often treated as something that “had arrived from the West”. For example, DIK Fagazine in Ukraine, which is trying to acquire European Union membership, it is not unusual to hear arguments The beginning of my archival research was con- against this accession saying that as a result the nected with DIK Fagazine. The magazine gradually country would turn into a “Sodom”. This argument evolved from a periodical addressing the current situ- is largely present in the region, especially in those ation in Poland and the Central and Eastern European countries still under strong influence of the Roman region, to a platform exploring queer archives that is

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DIK Fagazine, Issue No. 8 “BEFORE ‘89”, 2011. Courtesy of the Queer Archives Institute. Karol Radziszewski, Kisieland, installation view, Centre of Contemporary Art Znaki Czasu in Torun, 2014. Photo: Wojciech Olech. Courtesy of the artist and CoCA in Torun.

Karol Radziszewski, vitrine (Filo, 1986-1990 and DIK Fagazine, 2005- 2014 magazines). Photo: Wojciech Olech. Courtesy of the artist and CoCA in Torun.

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determined to discover our “queer ancestors”. In 2008, archives (photographs, personal writings) which had I began work on an almost three-year-long project usually never been shared before. My work rarely that was a special issue entirely focusing on the life involves visits to libraries; I prefer to focus on direct of homosexuals in Central and Eastern Europe before contact with the witnesses to events and gather their 1989. In the process of researching sources and trav- memories. Typically, I would first meet local activ- elling, I reached many people whom I interviewed. ists, who would give me information about people I From the outset, it was important for me to confront could potentially talk to, and they often suggested the Polish experience with that of our neighbours, to new avenues where I could find further material. Thus sketch a wider panorama of the region. With my col- obtained and recorded audio or video interviews laborators Paul Dunca, Kamil Julian, Pawel Kubara and become documents, and the beginnings of an archive. Jaanus Samma, I looked at several selected countries (Poland, Romania, Estonia, Latvia, Serbia, the Czech Alternative Sexual History Republic and Hungary) in order to trace and compare cruising areas, gay nude beaches, groundbreaking as an Art Practice publications as well as reactions to the beginnings of the AIDS epidemic. Despite specific local circum- Thanks to work on the issue entitled “BEFORE ‘89” stances in these countries, many of the described (published in 2011), I met Ryszard Kisiel and discov- experiences proved to be similar, such as a lack of an ered the existence of Filo – the first socialist-era gay organised community (with a few exceptions), simi- magazine devoted to non-heteronormative issues in lar cruising areas (almost always railway or bus sta- this part of Europe, founded by Kisiel and distributed tion toilets, main city parks, and men’s bathhouses), semi-legally among his friends and acquaintances 1. non-existent or very few places addressed exclu- Consequently, DIK Fagazine reprinted original mock- sively to homosexual clients (clubs or bars), and the ups from Filo, our “newly-discovered ancestor”. emergence of the first publications on the authorities’ During consecutive meetings with Kisiel in his tiny actions in the effort to prevent the spread of HIV-AIDS. flat in Gdańsk, I was able to explore his vast archives,

My primary method was conducting inter- and learn new facts and various 1. Filo was published views with older people and consulting their private aspects of his activity. On one between 1986 and 1990.

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2. For more detail about occasion, he produced a plastic undertaking drawing on Kisiel’s 3. Exhibitions include: this point, see article bag full of meticulously labelled archive. It began with record- Rosa Arbeit auf gold- by Tomasz Basiuk (2011). ender Strasse, xhibit little boxes with a collection of ing conversations and ordering Gallery, Vienna, 2012; nearly 300 coloured slides. These contained docu- the digitisation of Kisiel’s slides, 8th Photography Biennial, mentation of the photo shoots which Kisiel realised which have since been presented Poznan, 2013; PERFORMA 13, New York, 2013; with his friends in someone’s private apartment. The at lectures and in printed form The Prince and Queens. slides dated from late 1985 and early 1986, as a direct as part of several exhibitions 3. A The Body as an Archive, response to Operation Hyacinth (a comprehensive publication presenting the entire Center of Contemporary Art Znaki Czasu, Torun, campaign carried out by the Civic Militia in the Polish collection is planned in the future. 2014; Tomorrow will be People’s Republic, which consisted in the gathering In 2011, I invited Ryszard Kisiel different, Fotograf of data on Polish gay men and their community, as a to my studio, where he decided Gallery, Prague, 2015; Travestis, ZPAF Gallery, result of which approximately 11 000 personal files to return to the role of creator Krakow, 2015. were registered). The discovered slides provide spe- after twenty-five years. The film cific visual evidence and contradict the stereotypi- (Kisieland, 2012, 30min) which recorded this action cal way of thinking about life in the Polish People’s confronts memories with Kisiel’s present image, as Republic. They counter the image of a homosexual he confronts a young model face-to-face. In addi- as a persecuted victim, revealing a large potential tion to telling the story, the documentary presents a of positive energy, uninhibited sexuality, invention, large number of digitised archival photographs. The irony and self-irony (even towards such taboo top- “AIDS” cycle (wallpaper, paintings, graphics, and ics as AIDS). Kisiel’s archive also allows us to take a posters) of this project echoes Ryszard Kisiel’s col- fresh look at the reality of the socialist era, because lage of Donald Duck stickers included in an issue despite obvious contradictions between the East and of Filo in the late 1980s as well as the “Imagevirus” the West in that period, strikingly cosmopolitan refer- project by the collective General Idea, which trav- ences and similarities can be noticed in the interna- estied Robert Indiana’s iconic work called LOVE. As tional “sexual avant-garde” and its iconography 2. part of the Kisieland project, I organised a special For the last few years, I have been working on event during PERFORMA 13 in New York – a discus- an art project titled “Kisieland” which is a long-term sion to which I invited both Ryszard Kisiel and Avram

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Ryszard Kisiel, Bulgaria, 80’s. Courtesy of the Queer Archives Institute.

Ryszard Kisiel, 1985/1986. Courtesy of the Queer Archives Institute.

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Finkelstein (the founding member of Gran Fury and the “Global East”. What emerges 4. The Queer Archives ACT UP, the AIDS advocacy group), thus confronting is a story of a “global province”, Institute was established on 15 November Eastern European and American narratives on the timidly trying to discover its own 2015, that is to say on beginnings of the AIDS epidemic. The meeting also language and create its own inde- the thirtieth anniversary included a performative reading of excerpts from pendent identities. There have of Operation Hyacinth in Poland. Its official Boris L. Davidovich’s Serbian Diaries, which describe been previous projects comparing inauguration will be the that moment in history from the perspective of early Eastern Europe with Latin America, exhibition I am preparing 1980s Belgrade. for example the recent exhibi- for Videobrasil in São Paulo in April 2016. Locating Kisiel’s archive in the context of art is tion Transmissions: Art in Eastern an opportunity to restore/reveal the past, and recover Europe and Latin America, 1960–1980 at the Museum its critical potential. It is also complements Polish of Modern Art in New York in 2015, that focused on visual history by supplying it with hitherto ignored parallels and connections among artists. However, material. so far I have not come across any similar attempt to assemble queer archives in a specific given context. Broadening perspectives – Such juxtapositions seem to me to be an interesting experiment. What I concentrate on is rather a similar Queer Archives Institute context, certain limitations, as well as often a vesti- gial character of (hi)stories that are yet to be told. My work with archives has expanded from the initial It is to subject matter of this kind that I would highly local, Polish, context, to the gradual inclusion of like to dedicate my newest project, “Queer Archives neighbouring countries in search for commonalities, Institute” (QAI) 4. On one hand, it is intended to sum and the current attempt to reach a broader perspec- up my practice so far, and, on the other, to try and tive. Travelling to Brazil and exploring the question establish permanent co-operation with partners of Brazilian queer archives, I found some similari- (such as artists, activists, academics, and local ties with the results of my research conducted so far. non-governmental organisations). The aim of the The particularly topical subject of the “Global South” project will be to gather queer archives from vari- repeatedly overlaps, criss-crosses and dovetails with ous geographic regions, especially those which

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5. Hopefully, the first are “peripheral”, either literally or with the participation of invited artists. On a smaller documents and texts will symbolically colonised, and make scale, I have already started to use such strategies in soon appear on queer archivesinstitute.org. them accessible as well as sub- various presentations 6 where archival visual mate- Of course, all this ject to artistic interpretation. rials, such as voyeuristic photographs from very dif- assumes a very long-term QAI’s main platform will be ferent beaches, are juxtaposed side by side. Similarly, perspective, in principle open to a multithreaded a website 5 gathering digitised I have showcased the first LGBTQ (Lesbian, Gay, development. For this materials ranging from scans of Bisexual, Trans and Queer) publications to be issued reason, at present it is archival photographs, magazines in various countries, or artefacts (posters, leaflets, difficult to precisely define the outline and and publications, through audio graphics, books) related to the beginning of the structure of the ini- and video interviews, to texts ana- AIDS epidemic. tiative. One thing is lysing related concepts and meth- certain, however: it will odologies. Owing to the entirely evolve. Parallel With 6. In 2015, I presented private character of the initiative, a paper during a con- at first, by necessity, the scale of the Global Canon ference titled “Sex and Sexuality in East-Central the undertaking will be limited; Europe, Past and Present” however, eventually it is meant to In the post-socialist states particularly, or other con- at the Central European be more far-reaching. texts marked by dictatorships for example, where University, Budapest, Hungary, and a lecture Importantly, in addition to the some historical threads were broken or could never during one of the events process of cataloguing and geo- emerge, there has been an attempt to build new at the Queer Forum Sofia, graphical/ chronological order- national narratives. Recent history is being largely Bulgaria. ing, I will create a system to enable constructed today, and sometimes manipulated. I am thematic searches which will form interested in this appendicising, rewriting, revising, multi-level hypertextual connections between mate- but from a very personal perspective. Decolonising rials from geographically distant places. Thus the dig- history through queer archives has become for me ital dimension of QAI needs be complemented by a a mission, an “identity project”. The work has politi- “material” one: by organising or co-organising exhibi- cal, or even activist potential for me. I often feel that tions presenting the collected materials, sometimes by working on every next project, text or exhibition,

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Archival images and the first issue of Hlas magazine (1931) reproduced in the DIK Fagazine No. 9 “Czechoslovakia” issue (2014). Courtesy of the Queer Archives Institute.

Mockups of the Filo magazine, 80’s. Courtesy of the Queer Archives Institute.

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7. Hlas sexuální menšiny I can do more than by marching REFERENCES (Voice of the Sexual and demonstrating in the streets. — Basiuk, T. 2011, “Notes on Karol Radziszewski’s Kisieland”/ Minority) was published “Uwagi na temat projektu Kisieland Karola Radziszewskiego”, fortnightly between April I am interested in alternative ver- in K. Pijarski (ed.), The Archive as a Project, Fundacja 1931 and April 1932. It sions of well-known stories and Archeologia Fotografii, Warsaw. was followed by Nový hlas questioning canonical narratives. — Davidovich, B.L. 1996, Serbian Diaries, Heretic Books, (New Voice) published London. until 1934. This subversive strategy aims to — DIK Fagazine: founded in Poland in 2005 by Karol change the future image of the Radziszewski, viewed 1 February 2016, www.karolradzisze- hitherto-created reality. This is connected with dis- wski.com and www.dikfagazine.com. covering the local Eastern-European identity, shaped in parallel with the global canon: the first Czech magazine dedicated to homosexuality was published in 1931 7, so why should we always have to rely primarily on American or British zines from the 1960s and 1970s?

— Translated from Polish by Ewa Kowal

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THE HUMP OF COLONIALISM, OR THE ARCHIVE AS A SITE OF RESISTANCE

RONA SELA THE HUMP OF COLONIALISM, OR THE ARCHIVE AS A SITE OF RESISTANCE – RONA SELA

In the following article, I focus on contemporary artis- continued during the War of 1967, with the occupa- tic and research practices which challenge archives tion of the West Bank and Gaza Strip, which became in colonial countries and zones of conflict. It contin- increasingly violent, oppressive and exploitative as ues my research on colonial archives, their charac- the years went by 1, and which involved the violation ters and histories and concentrates on contemporary of human rights and dispossession of Palestinian works by Israeli and Palestinian artists and research- lands for the benefit of Jewish settlements. Israel ers which re-read official colonial Israeli archives, or continues to systematically expand its direct con- archives with colonial features. I will demonstrate trol over the entire land, resources and population that the use of these colonial archives enables us to between the Mediterranean and the River Jordan work against their original objectives, “against their while deliberately excluding the Palestinians by using grains” as defined by Ann Stoler (2002, p. 99), trans- a complex apparatus of oppressive mechanisms. forming them into sites of resistance. While one major aspect of the Zionist-Israeli Zionist colonialism in the land of Israel/Palestine colonial mechanism is physical, another involves began in the late nineteenth century and developed the judicious and deliberate construction of a in various stages. In 1948 the Nakba launched the Zionist imagery system. From the earliest days of the ethnic cleansing of the Palestinian population, the Zionist movement, the colonisation of Palestine was prevention of their return to their lands and homes, described – often with the use of visual aids – in ethi- the occupation and Judaisation of Palestinian vil- cal, softened and euphemistic terms aligned with and lages, towns and neighbourhoods. Subsequently, the constitutive of an official narrative. Discriminatory, Military Government (which was finally terminated immoral and oppressive mechanisms have been

in 1966) controlled the Palestinians who remained whitewashed ever since. Thus, 1. See for example: in Israel and exploited them economically. This for example, the propaganda www.whoprofits.org.

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departments of pre-Statehood institutions have institutional mechanism which not only legitimised instilled the narrative of “making the desert bloom”, the occupation, but also sought to justify the settle- a desert supposedly empty of indigenous inhabitants, ment project which entered into high gear following as well as the biblical ideology designed to estab- the Arab-Israeli War of 1973 (Sela 2007). lish the Jewish people’s “historical right” to the land Importantly, the national archives in Israel – (Sela 2000). A prime example is the opening scene among them Israel State Archives, Central Zionist of Helmar Lerski’s film Work (1935), in which the Archives, Jewish National Fund archive, Keren Zionist pioneer marches in a desolate and uninhab- Hayesod archive and the various military archives– ited landscape. Later on, the film describes his efforts are but one component of a complex set of physical to develop and inhabit the land, while biblical verses and discursive colonial mechanisms operating in provide moral ground for colonisation. Erasing the such diverse areas as education, media, law, planning, pre-1948 Palestinian existence from the coloniser’s and finance (Sela 2015) 2. The effect of these mecha- mind or presenting it in a backward, “biblical” light, nisms – which take part in human rights abuses, or have laid the groundwork for the physical erasure in presenting them in a brighter or more positive and ethnical cleansing of the Palestinians in 1948 light – on Palestinian and Israeli lives is destruc- and thereafter. tive. Therefore, researching, exposing and criticis- Propaganda departments gave birth to national ing these mechanisms, as well as writing alternative archives of organisations such as the Jewish National narratives, are among the key duties of decolonial Fund and Keren Hayesod (United Israel Appeal) research and activism (Sela 2013). which now serve as evidence of the development In what follows, I focus on a limited number of of colonialism both in terms of their content and in examples of contemporary artistic and research terms of their structure. The Israeli authorities devel- activities that have a potential to write a history that oped a sophisticated mechanism, aided by the War subverts colonial-biased representations by using of 1967, that continued to structure the supposedly colonial archives in two ways. 2. See also for moral aspects of the occupation and the “histori- The first, to expose the colonial example: The Law in These Parts (Ra’anan cal right”. Many civilian sectors – like the press, the mechanism of the Israeli national Alexandrowicz 2011), crafts and cultural spheres – collaborated with this archives, the second, their here.

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alternative readings. Thus the tendentious methods of colonial representation are revealed, their initial essence cracked and unofficial layers of knowledge are released. Such actions, I believe, undermine the archives’ original purposes and contents and seek to unearth and decode repressed / hidden contents (Sekula 2003; Sela 2013). Not Without Me was an exhibition of work by Kamal Aljafari, a Palestinian filmmaker based in Berlin, at Radcliffe Gallery in Harvard in 2010. It presented postcards featuring images freeze-framed from Israeli and American films produced in Israel in Kamal Aljafari, Not without Me, Radcliffe Gallery, Harvard the 1970s and 80s, in which Jaffa is used as an ori- (2010), Courtesy of the artist. ental setting. The movies themselves include no explicit reference to the city’s Palestinian population – apart from “errors”, i.e. shots in which Palestinians were captured inadvertently in the frame. Despite a Western, patronising point of view, these films are almost the last remaining documentation of neighbourhoods and buildings in Jaffa which have been destroyed and Judaised over the years by Israeli authorities. Therefore, these movies are – completely unintentionally – a source of significant historical information about the Palestinian characteristics of Jaffa which are consistently being erased by Israel

Kamal Aljafari, Still from Port of memory (2009, 35mm, color, and overwritten in the form of a gentrified and roman- 58 min), Courtesy of the artist. ticised Tel Aviv suburb 3.

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3. See also the famous In his 2009 film Port of experience – on which he printed 4. Government meet- hit by Shalom Hanoch Memory, Aljafari also embedded minutes from government dis- ing, 21 July 21 1948, and Arik Einstein, The Hakibbutz Hameuchad Deeper the Bluer (Hebrew, cuts from Kazablan (1973), an cussions concerning these Archive, Division 9, Box 1970). The clip was Israeli blockbuster originally doc- cases. One of the works in the 9, File 3. filmed with the ruins of umenting the struggle of Jews of series, Tales of Rape and Worse, 5. This term was coined the Manshiyha (former by Benny Morris in 1988 Palestinian neighbour- Asian and African descent against includes quotes by Aaron Ziesling, in his article “The New hood of Jaffa) in the the European-Jewish establish- the Minister of Agriculture in the Historiography: Israel background – just before ment. In those excerpts – which first Israeli government: “They Confronts it’s Past” it was completely flat- (Tikkun, 3:6, November- tened by the Tel Aviv document the city’s post-Nakba say there were cases of rape in December, pp. 19-23, Municipality. I thank Ami landscape – Aljafari planted actors [recently occupied] Al-Ramlah. I pp. 99-102) in which he Asher for this reference. and scenes that tell the story of can forgive acts of rape, but I will identified a new group Asher guides alternative of historians who re- tours in Jaffa that treat Palestinian Jaffa, thereby creat- not forgive acts that seem more examine the Israeli its post-Nakba landscape ing a new narrative for the movie: serious to me. When [soldiers] official historiography. as a spatial archive that the Palestinians’ struggle against enter a city and take rings off fin- They were perceived in reveals more than meets Israeli society as Post- the eye. their evacuation, the destruc- gers and jewelry off necks – that’s Zionists and their work tion of the Old City and ongoing a very serious matter” 4 (Segev provoked many reactions municipal neglecting. As Aljafari stated: “The Israelis 1984, p. 85; Sela 2013). This work and rejections in Israel. About the New Historians expropriated not only our homes and lands, but also was made possible thanks to the see for example the our struggle. I therefore re-appropriate cuts from the efforts of Israel’s so-called New article by Avi Shlaim, movie in order to restitute the city, its history and its Historians who have been expos- a New Historian, on the subject: “The War of the identity to the Palestinian population” (Sela 2013, ing, since the late 1980s, previ- Israeli Historians”, p. 243). ously unused materials in official Annales, 59:1, January- Israeli artist Meir Gal’s series Untitled (1994) Zionist historiography. Forty years February 2004, pp. 161-67: deals with cases of looting, rape and unlawful kill- after the establishment of the ing in 1948 as documented in official Israeli archives. State of Israel, historians began accessing materi- Gal used Israel Defense Forces’ issued blankets – als that had been restricted in the national archives, objects strongly connoted with the Israeli military allowing them to write alternative histories 5.

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Meir Gal, Untitled, 1994. Silkscreen on military blankets, sand and bulbs. Installation shot, Fawaran (Unrest) – Housing, Language, History – A New Generation in Jewish-Arab Cities, Nachum Gutman Museum of Art, Tel Aviv, April-August 2013, Curator: Rona Sela. Courtesy of the artist.

Meir Gal, Untitled (Tales of Rape and Tales Far Worse), 1994 In Hebrew: “It has been said there were acts of rape in Ramleh. I can forgive acts of rape, but I cannot forgive acts that appear to me more severe. When entering [soldiers] a city and removing a ring from a hand and jewelry from a neck. That is a very serious matter”. Silkscreen on military blankets. Courtesy of the artist.

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6. Association for the Another project which sought This project exposes just a few of the countless History of Haifa, 39-2- to challenge the official Israeli letters written by members of the Palestinian Nakba 8, 16 January 1949, Haifa Municipality Archive archival materials is a project I generation who remained in the country and had to 15/95. worked on called Haifa: 1948-2013 cope with the impossible conditions imposed by the (Sela 2013, pp. 243-244). This was new Israeli rulers. Stored in official archives, these based on the research materials used by “official” letters were mostly written by Hebrew-speaking historian Tamir Goren for his book Arab Haifa in 1948 lawyers on their behalf, and accordingly their tone published in 2006. I presented the documents that is apologetic if not subservient. Beyond this facade, he collected but were not eventually included in this however, the letters – now exposed to the public for book. Goren’s book, written from a Zionist perspective, the first time – clearly voice the tremendous hard- largely avoids any issues that are inconsistent with ships and insults experienced by the Nakba genera- the official national narrative, such as acts of aggres- tion. They also provide detailed information about sion towards Palestinian civilians, massive dismissals the looted property, ethnic cleansing and more – of Palestinian workers, looting, refusal to let families information that is essential for the future writing of reunite, or Jews who squatted in Palestinian homes. Palestinian history. These findings, which were collected by him in his In 2009, following the exhibition Made Public – research but not exposed, were presented in Haifa: Palestinian Photographs in Military Archives in Israel 1948-2013. For example, a certain Mr. Shehade com- at Minshar Gallery in Tel Aviv and the publication of plains in a letter to the Director of the Department of the accompanying book (Sela 2009), I presented Minorities in Haifa that during his sister’s absence: at Pecha-Kucha Jerusalem a series of aerial photo- “Ms. Hoffman Anna and Ms. Rosner Barina squat- graphs, taken by pre-State Jewish military forces, ted in her apartment without receiving permis- of Palestinian villages and towns from this proj- sion from me or from any authority, and since they ect. Taken by the Palmach Squadron as intelligence have refused to vacate the apartment I contacted gathering for surveillance, control and occupation the Jewish Agency in Haifa... but unfortunately... purposes, from 1946 to early 1948, these photo- those two ladies told me they would not leave the graphs were accompanied by extensive textual sur- apartment” 6. veys and photographs (“village files”) of Palestinian

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villages and towns collected by Jewish scouts on REFERENCES the ground for the same targets. They were declas- — Goren, T. 2006, The Fall of Arab Haifa in 1948, The Ben-Gurion Research Institute for the Study of Israel sified in the last decade. In the event I claimed that and Zionism, Ben-Gurion University of the Negev Press, MOD these images and surveys, can today change their Publishing House, Haganah Historical Archives (in Hebrew). colonial functionality and original targets and expose — Segev, T. 1984, 1949: The First Israelis. Domino, Tel Aviv (in Hebrew). the Palestinian geographical deployment that Israel — Sekula, A. 2003, “Reading an Archive: Photography between ruined in 1948 and after. They are, therefore, the last Labour and Capital,” in L. Wells (ed.), The Photography evidence of the Palestinian entity before the Nakba. Reader, Routledge, London and New York. — Sela, R. 2000, Photography in Palestine in 1930s&1940s, A member of the audience asked whether I was not Hakibutz Hameuchad Publishing House and Herzliya Museum (in afraid that these hundreds of aerial photographs in Hebrew). For information in English, see: www.ronasela.com. military archives in Israel would be classified again. — Sela, R. 2007, Six Days plus Forty Years, Petach Tikva Museum of Art, Israel (in Hebrew). People laughed, but eventually this is what happened. — Sela, R. 2009, Made Public – Palestinian Photographs in Despite the “archive guards” who continue to Military Archives in Israel, Minshar for Art, Israel, (in control the official representation of the archives Hebrew). For information in English see: www.ronasela.com. — Sela, R. 2013, “Embroidering the Change - Art, Activism and the way they are loaded by meaning, the con- and Change in Bi-National Cities in Israel since 2000”, trol over the history of the oppressed enables , in an in R. Sela (ed.), Fawaran (Unrest) - Housing, Language, unexpected manner, the emergence of new forms of History – A New Generation in Jewish-Arab Cities, Nachum Gutman Museum of Art, Tel-Aviv. (in Hebrew and Arabic). “archival resistance”. While these “archive guards” For information in English: www.ronasela.com. control the various “stages of production” of mean- — Sela, R. 2015, “Rethinking National Archives in Colonial ing and strengthen their domination over the process Countries and Zones of Conflict”, in A. Downey (ed.), Dissonant Archives: Contemporary Visual Culture and of knowledge production; new creative and margin- Contested Narratives in the Middle East, I.B. Tauris, alised ways to define the boundaries of the archives London. Also published here, viewed 10 February 2016: and free them from biased contents are created by www.ibraaz.org. — Stoler, A. L. 2002. “Colonial Archives and the Arts artists and researchers, consolidating the archive’s of Governance”. Archival Science 2. role as a site of resistance.

—Translated from Hebrew by Ami Asher.

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A GRIN WITHOUT MARKER

FILIPA CÉSAR A GRIN WITHOUT MARKER – FILIPA CÉSAR

“What made sense as an object “Well, I have no good news. It seems Chris has played of our propaganda in one particular one last prank on us”. These were Anita’s first words context, can become a sturdy ‘friend’ to me when I arrived at her apartment. The box with the Bissau documents was on the table – letters, difficult to appease in quite another. pictures and journals damaged after recent flood- It can become an obsession ing in the attic. “Maybe you just have to photograph for us to want to control the image that Courgette [the cat] sitting on top of it – that would say one day we produced accidentally, it all”. Sunday 29 November 2015, I visited the French writer and filmmaker Anita Fernandez, to greet a dear saying ‘that’s for history’. […] friend and photograph some documents that she Yet the image gives itself a new life, keeps from her experience in Guinea Bissau in 1980. a new destiny, with or without us. This was one of the last stops on the journey of the It frees itself of our guardianship.” Luta ca caba inda (The Struggle is Not Over Yet) project which has spanned decades through Paris, Boé, Sana na N’Hada, Berlin, Bissau, Guimarães, Conakry, Moscow, Cuba, Our image and ourselves, 2015 Cacheu, London, Lisbon.

This title derives from the English transla- tion of Chris Marker’s film Le fond de l’air est rouge, (1977): “A Grin Without a Cat”.

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Box with documents at Anita Fernandez’s place. Photograph by Filipa César, 2015. Voluntary work by Guinean students in Cuba. Sana na N’hada comments on these images – all four young filmmakers can be seen with a machete in their hands cutting couch grass, the aim of the voluntary work was to teach humble- ness. Humility, fit on the ground, close to the soil, humble derives from humus. INCA, Dervis Spinoza, 1967.

Reels from the unfinished film Luta ca caba inda. Photograph by Filipa César, 2012. L’INTERNATIONALE ONLINE – FILIPA CÉSAR – 60 A GRIN WITHOUT MARKER – FILIPA CÉSAR Sunless

I first met Anita Fernandez in 2012 after an event at the Jeu de Paume cinema, presenting freshly digitised materials from the Guinean audiovisual archive. Fernandez came to re-encounter her old friend Sana na N’Hada, one of the four pioneers of Guinean militant cinema. Among many other young Guineans sent to Cuba in 1967 to be educated in various disciplines (mainly medicine, warfare and avia- XX Anniversary of the Liberation Party. Miriam Makeba tion), N’Hada was to be trained in the field of cinema emerges from the film ruin, the force of her embodied Pan and joined Santiago Alvarez’s team at the Instituto Africanism fights the celluloid infection tainted by a neo- colonialist virus.INCA, Sana na N’Hada and Flora Gomes, 1976. Cubano del Arte e Industria Cinematográficos (ICAIC) in Havana. My involvement in the long-term collective project Luta ca caba inda was less dependent on my curiosity for these cinematic genres, but rather unintentionally, the result of a suction force, pull- ing me into the magnetic field of a web of conditions, urgencies and magical encounters. The Portuguese colonial war, despite ending just before my birth in 1975, was a latent presence in my childhood, cast- ing shadows of fear, subversion and cryptic inten- sities. My father was the channel, after his failed desertion to Paris, he had served in the military in Chinese newsreel: China Today number 8110 – museum display of stones and minerals, title – valuable mineral resources. Portuguese Guinea between 1967 and 1969. I was Found at the INCA archives, Bissau. introduced to an imagery of resistance to Salazar’s

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regime – underground subversive political literature, the illegal emigration of deserters and political activists and a revolution through the radio transmission of a coded song. But for many years I thought this was a story disconnected from the rest of the world. Something that resided in my apartment, animated by certain props – a military uniform, blue batik fabric, an African wooden sculpture. A tale, rather than history. That changed in 2003 when I was bewildered by my first encounter withSans Soleil by Chris Marker. Excerpt of undated anti-Apartheid film, educational film There were images of Guinea and a spellbinding genre, image of various weapons, animated illustrations voice talking about the Portuguese / Guinean con- demonstrating their mechanisms and usages, documentation of flict: “Why should so small a country and one so poor corresponding injuries on human bodies. Found at the INCA archives, Bissau. interest the world?” – and further – “Who remembers all that? History throws its empty bottles out the window”. A French filmmaker knew about that war and also knew that the country inscribed in my fantasy did not interest the world. I knew that Guinea was the place where my father had fought on the wrong side – mistaken by the communist ideals that militants should infiltrate the colonial military and subversively undermine its power – with dignified intentions that didn’t prevent him from getting implanted therein a sunless gloom. Happiness is but awareness of mis- fortune. The stage of the haunted tale became a geo- Inside a bank, bank notes, currency exchange process from Portuguese escudos to Guinean Pesos, images of a second political spot – Peter Pan showing up at the window emancipation – the financial independence from Portuguese – hey, you can jump with the empty bottles. control. INCA, Sana na N’Hada and Flora Gomes, 1976.

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The Potency of Irrelevance archive, and had even sent dozens of new canisters to Bissau to re-accommodate the films, but for many In 2009, Colin MacCabe asked me if I would like to reasons, also connected with diplomatic tensions accompany him to visit Chris Marker, rue Courat. and the financial crises, they told me: “the archive When asked about Guinea, Marker answered: “If is irrelevant”. Their arguments were the deeply frag- you are interested, then go and meet Sana” 1. That is mented and ruined state of the collection, holding how I came to Bissau in January 2011 to meet Sana mainly unfinished films or unedited footage, and na N’Hada, Flora Gomes and other people connected finally most of its reels were eroded copies of foreign with Guinean cinema and literature such as Odete films existing in better state in other archives. They Semedo and Suleimane Biai. They showed me a room were right about everything. Nevertheless that sen- full of film canisters in a very wet and gloomy envi- tence entered a resonance field in my mind. ronment at the Institute of Cinema in Bissau. N’Hada “The archive is irrelevant” was in direct propor- told me that this was where their early work as the tion to “History throws its empty bottles out the win- first Guinean filmmakers was stored, and how he, at dow”. Wasn’t that emptiness for history what fullness the age of seventeen had been picked out from the was for the subjects out of history? Were those bot- middle of the jungle war and sent by Amílcar Cabral tles eventually full of the answers to give to “a worker to Cuba to become a filmmaker – and how he had who reads” (Brecht 1995)? A Benjaminian angel star- never seen a film before. N’Hada’s preoccupation ing at ruins (Benjamin 1940/ 2007). Jumping with with the imminent loss of the archive moved me and the empty bottles seemed an historical materialist made me speculate about the promise of a militant take, to “contest the colonial archive” (Eshun 2003) cinema of emancipation, born from the struggle as a through the replacement of a viewpoint, a chance to praxis of liberation and a possible deviation from my look at European myopia through the lenses of colo-

1. I found Sana’s full name own imagery. nial resistance. later in the credits of Sans Later I got in touch with the The disquiet latency in the statement “the Soleil. Sana na N’Hada is Head of archives at the Portu archive is irrelevant” rendered the strangeness of the author of the Carnival scenes that Chris Marker guese Cinematheque. They the repeated sounds of words. Meaning gets lost included in the film. knew about the Guinean and words gain in materiality, texture, volume and

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Sana commenting on footage from the unfinished film Guinea-Bissau: 6 anos depois. Arsenal Cinema, Berlin. Image by Nuno da Luz, 2012.

Refugee and human rights activist Napuli Paul Langa and Lennart Malmer For four weeks in November/December 2014, we toured through Guinea- at Visionary Archive Festival, Berlin. Bissau with images and sound from the archive equipped with a simple Image by Jenny Lou Ziegel, 2015. cine-mobile unit and a seven-members entourage, Sana na N’Hada and I curated a programme for each stop. After the commented screenings, radio broadcaster Aissatu Seidi invited the public to intervene. Image by Jenny Lou Ziegel, 2014. L’INTERNATIONALE ONLINE – FILIPA CÉSAR – 64 A GRIN WITHOUT MARKER – FILIPA CÉSAR

2. Referring to Sana na accident. “Irrelevant” became Relevant, re-Levant, where the sun rises again, a N’Hada’s comment about this rugged matter of rrr, raw, Mediterranean land east of Italy. Irrelevant, no-Levant, learning how to be humble through voluntary work in rough, rhythm. Material word- no rising of the sun, Sunless 3. Cuba. decomposition follows up on Etymologically unfolding the word “relevant” – 3. This made me recall etymological break down. The it derives from prominence, distinctness, or vivid- film titles with the word “sun”: Soleil Ô (Med prefix “i” in “irrelevant” is the ness due to contrast; the projection of a figure from Hondo, 1969), Sans Soleil resistance to relevant – I can the ground or plane on which it is formed, as in a (Chris Marker, 1982), La visualise the “i” operating on the sculpture, giving the appearance of a third dimen- petite vendeuse de soleil (Djibril Diop Mambéty, signifier, relevant both through sion. Adjectivised, “relevant” means pertinent to the 1999), Mille Soleils the shape of “i” as serif font and matter at hand, depending upon, helpful, or to lessen, (Mati Diop, 2013), In through the negative mean- lighten, relating to relieve. The logic of relevance the Year of the Quiet Sun (The Otolith Group, ing, as if a palm-oil press would operates within a vertical, hierarchical, power rela- 2013). squeeze the potential salience tion system in which relevance always performs the 4. João Mário Grilo dur- or elevation of “relevant” back to task of sustaining this verticality through imposed ing a discussion with the group of candidates the ground, close to humus. The stratification. Something is relevant to a system if for the PhD Art Studies double “r” in the word produces something assists that system to fulfil a task. “The course, FCSH, Lisbon, the texture of an eroded soil or archive is irrelevant” is spellbound, it also means January 2015. furrowed field. The sap extracted – this archive does not assist a certain system to from that “i” pressing relevant frees the nectar of achieve a certain goal. power and immortality – ambrosia. “Irrelevant” However we were not interested in re-evalu- is the becoming mortal, becoming humble 2. ating the relevance of the archive by shifting it into “Irrelevant” became a word-energy, the frequency another system where it might become relevant. We and intensity of the non-power. The word perform- were drawn to deal with the potency of that condem- ing the gesture of throwing empty bottles out of nation. The opposite of relevance is not irrelevance, the window, when meaning is not signification, but but depression 4 or fold (Deleuze & Guattari 1980/ rather the very action performed by the signifier 2013). For the Luta ca caba inda operation, we were (Deleuze & Guattari 1980/ 2013). not searching for an opposition that functioned in the

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5. In Cosmologies: same inverted equation, we were instability (Nkrumah 1965). Its ruined and frag- Perspectivism, Eduardo interested in the horizontality, the mented state became a chance – instead of looking Viveiros de Castro writes about the prosopomorphic relational potential of that flatten- at the material as something precious, we thought of agency – from the Greek ing spell and in the “prosopomor- it as a moving body, a projectile that we were able to prosopopoiia, “the put- phic” 5 ability of the material. accompany in its flight – an aeronautic drive, a matter ting of speeches into the mouths of others” or The other problem was of nomadology, an abdication of history. “an imaginary or absent the reverberation of the word person is made to speak “archive”, an irrelevant archive or act”. Luta ca caba inda accommodates an intriguing contradiction – archive derives from arkhe, meaning the commencement and commandment (Derrida Luta ca caba inda is a Creole expression which means 1995/ 1996), i.e. the source and beginning of power. “the struggle is not over yet”. It is also the title of an “The archive is irrelevant” could mean a collection unfinished film in the collection, thus cursing the of never-ending powerless documents, or docu- accomplishment of the film, of the struggle, and even- ments which operate a never-accomplished non- tually of this project too. We appropriated the title and power. What we signposted as material of potency. its curse for a series of screenings and discursive We wanted to exercise a ritual of profanation of the events used to channel the contents of the fragmen- archive power, stop using the word “archive”, to tary corpus, and to welcome its conflicts. In this text, substitute it for collection, materials or assemblage, “we” always means the Guinean filmmakers and the words of destitute power and collectivism. crowd that built an alliance from the first cataloguing During the rainy season of 1999, after the civil war of the materials in Bissau, through the digitisation in in Guinea Bissau, the audiovisual material stored at Berlin, up to the participation in multiple screenings the Film Institute was thrown out of the window into and discussions in dozens of locations in the past four the streets of Bissau. Only weeks later the filmmak- years. Luta ca caba inda showed itself to us as an irrel- ers themselves (Flora Gomes, Sana na N’Hada and evant irreverent force that claims: I am not from yes- Suleimane Biai) rescued what remained of it, escort- terday. It is a projectile that is travelling for decades, ing it as they could through years of neo-colonial centuries and offered the chance to join the journey.

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Sana na N’Hada, Jean Pierre Bekolo and Nuno Faria at “4th Encounters Beyond History: Luta ca caba inda, an archive in relation”, Guimarães. Photograph by CIAJG, 2015.

Anita Fernandez reading a letter from Chris Marker, Arsenal Cinema, Berlin. Image by Filipa César, 2013.

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6. “The essence of the The transfer of the film and audio tone” (2012). The fungus, the vinegar syndrome, the archive is its gaps, reels onto digital matter was not scratches, the dust, the absence left by the damaged its holey quality. Now, frequently, the gaps are an action of institutional preser- emulsion on the celluloid reels are part of the aggre- the result of deliberate vation of the audiovisual mate- gation of matter that produces an image – “disease is or unconscious censor- rial. The experimental digitisation the evidence of relation” (Haraway 2003). These are ship, of destruction, attack, of auto-da-fé. occurred in 2012 in collabora- no representations of the past, only matters of the The archive is often tion with the Institute Arsenal for present. We stopped calling it an archive and instead grey, not just because of Film and Video Art in Berlin and its a collective milieu, an assemblage of shrapnel. To the time that has lapsed, but because of the ashes copies are held both there and at deal with the shrapnel of colonialism means to deal of all that surrounded it the National Film and Audiovisual with all the violence that comes through it; it means and has burned. It is in Institute in Bissau. The analogue embracing the conflicts related with a permanent discovering the memory of the fire in each sheet material was sent back to Bissau “decolonisation of thinking” (Viveiros de Castro 2012) that has not burned that in January 2013. Facing an other- as a condition and as a never-accomplishable task. we have the experience wise irrelevant archive, we had to – described so well by Walter Benjamin… – of a create our own techniques, rules, barbarism documented in ethics and praxis as “new archi- Images & Sounds each document of cul- vists” (Derrida 1995 / 1996). The ture.” (Didi-Huberman & As Present Matter Ebeling 2007) digitisation of the archive was a process of documenting our passage through that audiovisual matter – a dated War is not only channelled through the representations molecular transfer. There was no attempt at restoring in the image but also inscribed in the material condi- the material to any hypothetical original state 6. None tion of its support media. War wreckage and fractali- of these words – recovering, restoring, preserving – sation used to look through and access a crystallised apply to Luta ca caba inda, which is about film mate- time, a lens that can reach a certain surface in contem- rials as agents of today. Tobias Hering wrote: “This poraneity and beyond – one not graspable to the naked archive smells of vinegar, not ashes. It is not grey. It is eye. A kaleidoscope resulting from destruction – but white, hazy blue, pale green and a well-known sepia also from resistance and alliance – as the becoming of

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description here, a selected docu- 7. For example, Un mentation of this cine-geography Balcon en Afrique, a film shot collaboratively in (Eshun & Gray 2011) and its acti- Bissau in 1980, was also vation is included in the attendant added by Anita Fernandez images and captions. to the Guinean collection in 2013. Flaschenpost

Back to that November in 2015, rue des Maraîchers – Footage for unfinished film about Guinean women. Labels on 550 Google-meters away from Chris Marker’s place. the reels: women at work, women at school, women in politics, I wanted to photograph a couple of documents that women mother, farming women. INCA, Sana na N’Hada and Flora Gomes, 1979. Anita Fernandez had presented during a screen- ing in Berlin in 2013. Two documents held particular multiple visibilities. The operation of relevant works at accounts of this threat between Marker’s engaged the antipodes of the structure of the poetry of the haiku. cinematic praxis and the Guinean militant cinema: In a haiku, sentences are placed in relation to each • A postcard from Paris dated 23 June 1980: the back other, but they don’t need to have a cause and effect was the Eiffel Tower photographed through a fish- link between them, they don’t have to be relevant to eye lens. It was handwritten with comic-like ono- each other – and yet they affect each other, they co- matopoeic signs addressed to Anita Fernandez exist in the possibilities of aimless relation. The mag- in Bissau (via Dakar). Anita unravelled Marker’s netism of the sessions activated with Luta ca caba postcard by recalling that early in 1980, Marker had inda produced an inversion too – the archive started asked her for a meeting. For one hour in a Parisian to grow instead of shrink 7. In order to communicate café, Marker spoke fast slurred words that Anita some sense of the work made with these materials, couldn’t decode entirely, ending with: “You agree?” and because it is impossible to condense the mutilated Anita was so taken by Marker’s enthusiasm that body constituting this collection into a comprehensive she answered: “I didn’t understand what you just

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said, but I agree”. Marker was asking her to go to (Adorno 1951/1974), full of mes- 8. Interviewed in 2010 Bissau and continue his work helping to develop sages circulating in the under- by Colin MacCabe about Sans Soleil, Marker the recently founded National Film Institute and a ground, irrelevant, waiting to be said: “This is the moment cinema praxis with the young Guinean filmmakers 8. found after a flood ofBlack Atlantic [1979] when my friend • A letter from Chris Marker in Paris to Anita (Gilroy 1993) waters. A latent force Mario de Andrade [Angolan writer who at the time Fernandez in Bissau dating 19 May 1980: “You can resisted the grabbing, compre- was the partner of the imagine how happy I was by reading your letter hending or fixing of these accounts. director Sarah Maldoror] (just followed by another from Sana who confirmed A chance to merge with the uncer- asked to help them build the pompously named Film the progress accomplished from his point of view tainty of a temporary flight, to Institute in Bissau. – this produced an interesting stereo-euphoria in draw the line into a never-to-be- (...) I spent six months me). It is certain that the first obstacle has been reached-point. Dribbling histori- in a very comfortable hotel in Tokyo - a real overcome. There will be others, but that was truly cal narrative into a multitude of palace - and six months the most difficult one to solve – that of, to do or not untraceable encounters. in a former military bar- to do. [...] The problem is now ‘what next?’ or more Marker’s epistolary remnants racks in Guinea-Bissau.” (MacCabe 2012) exactly ‘who next?’ [...] I have volunteers, but gen- and analogous pranks prefaced 9. The idea of “cine- erally more enthusiasts than experts – and among many of the trajectories of the fils” by Serge Daney, a the experts, I have to admit that not everybody Luta ca caba inda project. The son of cinema, a family without genetic roots and has kept the militant fiber. [...] (But eventually I’ll conflict with interference – to do their implicit exclu- go to Japan again, where the unattended elec- or not to do. The problem of keep- sions, based on alli- tions will take place in June: if I’m not there, Sarah ing the flame of militancy. This ances, common interest and preoccupations. [Maldoror] can respond, therefore also send her archive is defiantly irrelevant for the information – doubly. Greet everyone, particu- the purposes of history writing, instead it expands larly the cats of the September 24”. a space to connect, discuss, and tangle a web of empathies, kinships (Haraway 2015) and cine-fami- When Anita told me that precisely those two docu- lies 9. Marker was pointing at flying empty bottles full ments were damaged, I thought about the gesture of of spectres of solidarity, subversive practices and the thrown bottles. Theodor W. Adorno’s Flaschenpost other cocktails.

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Carbon copy of the lost script for the Guinean film about Postcard from Chris Marker, June 1980 after flooding in Fernandez’s women. Anita Fernandez’s private archives. place in 2015. Anita Fernandez’s private archives.

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After photographing the faded documents, I — Derrida, J. 1995/1996, Archival Fever: A Freudian Impression, The University of Chicago Press, Chicago. packed everything into the Bissau box. I moved — Didi-Huberman, G., and Ebeling, K. 2007, Das Archiv brennt, towards Anita cooking us lunch, and when I looked Kulturverlag Kadmos Berlin, Berlin. back, Courgette the cat, was just making himself — Eshun, K. 2003, “Further Considerations on Afrofuturism”, The New Centennial Review, Summer. comfortable on top of the box, like a pilot preparing — Eshun, K. and Gray, R., 2011, “The Militant Image, for take-off. a Ciné‑Geography”, Third Text, no. 108, vol. 25, no. 1, January, London. REFERENCES — Gilroy, P. 1993, The Black Atlantic: Modernity and Double — Adorno, T.W, 1951/1974, Minima Moralia: Reflections from Consciousness, Harvard University Press, Cambridge. a damaged life, New Left Books, New York. — Glissant, E. 1990/2010, Poetics of Relation, Ann Arbor, — Barthes, R. 1966/1982, The Empire of Signs, Hill and Wang, The University of Michigan Press. — Haraway, D. 2003, The Companion Species Manifesto. Dogs, People and Significant Otherness, Prickly Paradigm Press, Chicago. — Haraway, D. 2015, “Anthropocene, Capitalocene, Plantationocene, Chthulucene: Making Kin”, Environmental Humanities, vol. 6, 2015, pp. 159-165. — Hering, T. 2012, “Before Six Years After”, in La Lutte n’est pas finie, Filipa César, Jeu de Paume, Paris. — MacCabe, C. 2012, “Visites rue Courat”, Trafic, no. 82, December, Paris. — Melitopoulus, A. and Lazzarato, M., Viveiros de Castro, E. The Noonday Press, New York. 2012, “Assemblages: Félix Guattari and Machinic Animism”, — Benjamin, W. 1940/2007, “Theses of the Philosophy e-flux journal, no. 36, July, viewed 1 February 2016, of History”, Illuminations. Essays and Reflections, — N’Hada, S. 2015, Our Image and Ourselves, unpublished. Schocken Books, New York. — Nkrumah, K. 1965, Neo-Colonialism – The Last Stage — Brecht, B. 1995, Plays, Poetry and Prose, Journals of Imperialism, Thomas Nelson & Sons, Ltd., London. 1934‑1955, Routledge, New York. — Viveiros de Castro, E. 2012, Cosmological Perspectivism in — Daney, S. 1994/2007, Postcards from the Cinema, Berg, Amazonia and Elsewhere, HAU Network of Ethnographic Theory, New York. Manchester. — Deleuze, G. and Guatarri F. 1980/2013, A Thousand Plateaus, Bloomsbury Academic, London and New York. — Deleuze, G. 1988, Foucault, University of Minnesota Press, Minneapolis.

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PRESENTING PASTS

ANDREA STULTIENS PRESENTING PASTS – ANDREA STULTIENS

In August 2011, Ugandan artist Rumanzi Canon and Uganda. My role is a hybrid one, but in the end, as an I started what I called an “archival platform” for lack artist, I develop forms (in books and exhibitions) to of a better term. To express the unfixed nature of his- present collections encountered in Uganda and the tory, we called it History In Progress Uganda, or HIP in micro-histories embedded in them to audiences both short. In an attempt to avoid any current affairs, we in and outside Uganda. L’Internationale’s request for decided to only engage with documentation of his- a contribution to their publication on “Decolonising torical moments that are at least two decades old. We Archives” made me trace back the progress made looked for collections of photographs in Uganda: in and some of the insights that emerged. cultural, educational and governmental institutions and in people’s homes, including those of photogra- We all have stories about origins that help to under- phy professionals. Most collections were neglected, stand what and who we are. Media also have histo- covered in dust, mouldy, or partly eaten by insects. ries. Photography has several. One of them tells the We digitised the material simply by photographing story through technology, of people using optical the photographs. With permission of the owners, we instruments, and an interest and insights into chem- started to share these photographs online, without istry, adding to what was known about the projection any particular selection process, on a daily basis on of the world through a lens. Another story considers the HIP Facebook page. We also started to present that painters, developing a photographic gaze, led curated selections of the images in exhibitions and the way, creating the necessity for the invention of publications that include contemporary responses to photography. Both stories are set in Europe. historical material. It seems to have taken a couple of decades from HIP led to research towards my practice-based the moment of its inception before photography was PhD, and to me living some considerable time in practiced for the first time in Buganda, the Kingdom

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1. I have a prefer- in the south central part of the ter- verb kufanana (to be similar to), can refer to a paint- ence for the use of ritory now known as Uganda. In ing, a drawing, a photograph or any other two dimen- the verb “to make” in relation to photogra- the early 1860s, the explorer John sional likeness. I was rather embarrassed it took me phy as recommended by Hanning Speke sent his camera so long to work this out, since photographs held a Ansel Adams and Aflredo back to the coast while he went central position in everything I was doing. On a num- Jaar. See Nedo, K. 2014, “(Mis)Understanding on to Buganda (Speke 1864, p. X). ber of occasions, people had brought me paintings Photograph. Museum He met the Kabaka (King) of the when I thought the conversation was about photo- Folkwang, Essen”, Frieze, Baganda (the people of Buganda) graphs. I had failed to ask the right question. no. 16, November, viewed 18 January 2016. and showed his books with draw- It is easy to explain this. The official language in ings whenever he felt that might Uganda is English. Most people, especially in urban be opportune. These were met, here and elsewhere centres, are comfortable speaking it, even if this is during his explorations, with great interest (Speke a version that is locally known as Uglish. The use of 1864, pp. 306-7, 359, 423, 525). Just over a decade Uglish is a necessity in a country with as many lan- later, in the mid-1870s, Speke’s colleague Henry guages practiced within its borders. When I men- Morton Stanley did bring his camera to the court of tioned my “discovery” to Luganda-speaking friends, Buganda. A photograph was made 1 of the Kabaka and they shared my wonder since they had never given his chiefs. This photograph is not known in present it much thought and agreed this was an interest- day Uganda, but other versions of the picture are. ing point. When I asked non-Ugandan friends work- There is little material proof available of a visual ing in the country’s cultural sector whether they had culture in Buganda before the middle of the nine- noticed something odd happening in the language teenth century. That does not mean there were no around images, they all said they had not. images. If something does not exist, then why have a It could be argued that a photograph in Uganda word for it? is not the same as a photograph in the Netherlands. I worked for seven years in Uganda before I There are of course overlaps in the way the photo- became aware of the fact that there is no specific graphs function, but they are conceptualised differ- word for photographs in Luganda, the language of the ently. I assume for now that this has to do with the Baganda. The noun ekifananyi, that is related to the origins of picture-making, materialised images that

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Screenshots from History In Progress Uganda’s Facebook page made by Andrea Stultiens, December 2015.

HIPUganda acknowledges copyrights and tries to credit sources whenever possible, but believes that a right to a shared history also needs to be recognised. Images are therefore shared free of copyright claims unless clearly stated otherwise.

L’INTERNATIONALE ONLINE – ANDREA STULTIENS – 76 PRESENTING PASTS – ANDREA STULTIENS were initially drawings and then also photographs, in of Kaddu’s photographs. Most of the photographs this specific culture. lacked information concerning who shot what, when and where. The reasons why they had been made In 2010, The Kaddu Wasswa Archive was published by seemed to be more obvious. There were events and three authors: Kaddu Wasswa himself, Arthur C. Kisitu, weddings. There are presidents and other perform- Kaddu’s grandson, and me. Kaddu’s face is on the ers. But understanding why the photographs were front cover and the back of his head on the rear. The made does not provide clarity on why I or anyone else book suggests that the archive is what is in Kaddu should be looking at them. Wasswa’s head. He creates connections, and makes the documents he kept as well as the photographs he HIP Uganda has a mixed audience following and made to prove his activities, readable. responding to the images shared. There are those Kaddu was very proud of the result of our work who grew up, and used to live, in Uganda. There are and adopted me into his family. He kept referring to Ugandans, mainly living in the capital city Kampala the man on the cover of the book as if he was some- and other urban centres it seems. And there is a group one else: as “this man” who was finally given some with general interest in photography and archives. recognition for everything he had done and tried to Let me brutally generalise here for a moment, based do. But as time went by, he also started to share con- on observing the responses to photographs shared cerns. Achievements that were important to him and on the Facebook page. The first group is looking for his people were omitted from the book. Someone recognition, to connect their memories to those of brought to his attention that there was too much others through photographs. The second group is emphasis on failures, not finalising studies, not being keen to compare pasts and presents, while the third able to build a clubhouse, not getting a job, not sus- group loves to discover beautiful images that do not taining a business. necessarily say anything about historical events, but While working with Kaddu and Kisitu, I also came capture aesthetics in a cultural and sometimes his- across other collections of photographs. Nobody I torical perspective. met ‘knew’ what the photographs were about, mak- When I started to look for “old photographs”, I ing it even harder for me to read them than some thought that what is in archives in Uganda, contrarily

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to what is in the UK for instance, should give insights REFERENCES into all Ugandan society. How naïve (again). Most of HIPUganda website http://www.hipuganda.org/ HIPUganda Facebook page https://www.facebook.com/HIPUganda/ the material relates to upper and middle class lives, before or after Uganda’s independence in 1962. BIBLIOGRAPHY The most Frequently Asked Questions when — Kisitu, A.C., Stultiens, A. and Wasswa, K. 2011, The Kaddu Wasswa Archive. A Visual Biography, Post Editions, sharing a photograph on the HIP Facebook page used Rotterdam. to be along the lines of “why is there no information — Mitchell, P. and Lane, P. (eds) 2013, The Oxford Handbook with the photograph? Who? Where?” I had thought of African Archaeology, University Press, Oxford. — Speke, J.H. 1864, Through the Dark Continent, William this was obvious. If there is no information, then that Blackwood and Sons, second edition, Edinburgh and London. does not need to be mentioned. I imagined it gave the person looking at the photograph the chance to be as open as possible. I failed to see that, when a picture is shown without context, it also suggests a gap between HIP Uganda who is sharing the photographs, and members of the audience who feel they are supposed to know what they are looking at. The context then is the lack of it, instead of a call to create it together. These questions resulted in a change to our strategy. The lack of knowledge as knowledge in itself is more explicitly added alongside the photographs. The little that is known is indicated, without being afraid that this might limit the freedom of association. HIPUganda and its audiences are co-creators of additions to specific histories at a time when it is no longer necessary, reasonable or acceptable, that pasts be told exclusively from outside or privileged positions.

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THE ARCHIVES OF THE COMMONS SEMINAR, MADRID 2015

MELA DÁVILA AND CARLOS PRIETO DEL CAMPO (MUSEO NACIONAL CENTRO DE ARTE REINA SOFÍA), MARISA PÉREZ COLINA (FUNDACIÓN DE LOS COMUNES) AND MABEL TAPIA (RED CONCEPTUALISMOS DEL SUR) THE ARCHIVES OF THE COMMONS SEMINAR, MADRID 2015

The Archives of the Commons seminar was held on 11 opened up to citizens and the general public as an and 12 December 2015 at the Museo Nacional Centro exercise in civic and democratic culture, irrespec- de Arte Reina Sofía in Madrid. It was conceptually tive of nationality or of the availability of financial developed through the joint work and dialogue of means to consult, use, and enjoy said archives, and three institutions/ platforms: the Museo Reina Sofía, (3) to discuss the possible role of public institutions Fundación de los Comunes (Commons Foundation), in protecting these types of archives from the double and Red Conceptualismos del Sur (Southern threat of privatisation on one hand (for example, Latin Conceptualisms Network). The collaborative nature American collections of political art that are the result of the project was, in fact, the seminar’s first distinc- of the work of individual artists and collectives), and tive feature: the conviction that these three agents, of neglect and invisibility on the other (for example, with their different histories, interests, and agendas, the collective memory of struggles and major social would be able to produce and share a space for dia- events that are part of the experience of the present, logue and interaction on equal terms. but have been sidelined by the media, academic, and The objectives were: (1) to think about the mean- institutional establishments’ modes of production of ing of the archive, in today’s context of highly volatile discourse and memory). information, memory and social communication, as a The second distinctive feature of the seminar vessel for collective memory, particularly in terms of had to do with the archives and repositories that the knowledge and practices of dominated classes were invited to participate, and with the working and subaltern groups; (2) to reflect on howArchives dynamic that was adopted. The conditions of emer- of the Commons, which sustain an important heri- gence of each project, and their links to the socio- tage based on collective memory, identity, and expe- historic contexts in which they originated were taken riences, can be created, managed, conserved and into account. Almost all the selected participating

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Conference by Jorge Reina Schement: Meeting the Challenge of Meaningful Access: Connectivity, Capability, Content, and Context, Museo Reina Sofía, 11 December 2015. Photo: Courtesy of Red Conceptualismos del Sur.

Workshop: Archive Economies, Museo Reina Sofía, 12 December 2015. Photo: Courtesy of Red Conceptualismos del Sur.

Workshop: Archive Economies, Museo Reina Sofía, 12 December 2015. Photo: Courtesy of Red Conceptualismos del Sur. L’INTERNATIONALE ONLINE – THE ARCHIVES OF THE COMMONS SEMINAR – 81 THE ARCHIVES OF THE COMMONS SEMINAR, MADRID 2015

1. Further information projects were created in response The Politics of Archives on each archive and their to historically-rooted needs and website can be found at the bottom on this text issues that their founders felt and Forms of Institution after the references. committed to. The participating archives 1 were: Archivo Contra The following statements by Georges Perec in “Think/ la Pared, Archivo de Estudios Campesinos, Archivo Classify” (1974 / 1997) encapsulate the two core ten- de la autonomía juvenil de Madrid, Archivo del Duelo, sions that shape the boundaries of the archive: Archivo Digital de la Autonomía Obrera, Archivos en “Behind every utopia there is always some great uso, Desmemoriados, El Recetario, Feminicidio.Net, taxonomic design: a place for everything and every Human Costs for Border Control, PAD.MA, and Women thing in its place.” in Black. “My problem with sorting orders is that they do The seminar was structured around two types of not last; I have scarcely finished filing things before working sessions. The first was a public event with the filing system is obsolete.” lectures by Nancy Kranich, Ariella Azoulay, Jorge Reina Schement and William Gambetta. In the sec- On one hand, there is a utopian yearning for classi- ond session, the speakers and representatives of the fication to burst the boundaries of the archive and archives worked together for a full day on three core embrace the whole of reality, given that to classify areas: the politics of archives and forms of institution, means to understand, or at least to “comprehend”. archive economies, and techno-political devices. On the other, there is the impossibility of reducing reality to an orderly series of elements. In institutional archives, these tensions are com- pounded by the complexities bound up with processes of legitimation, inclusion, exclusion, and the construction of the canon, which are inherent to and inevitable in “institutional” activities. To overcome these tensions, or at least reduce or counteract their impact, the museum probably needs to create larger

L’INTERNATIONALE ONLINE – THE ARCHIVES OF THE COMMONS SEMINAR – 82 THE ARCHIVES OF THE COMMONS SEMINAR, MADRID 2015 relational networks outside the institution, as well as structures in which the state abandons or blocks the increasing its flexibility, and publicly acknowledging development of archival policies for different rea- its own weaknesses. sons. At the same time, against a backdrop of global From this point of view, the relationship between neoliberal policies, archives have become an object institutional and non-institutional archives is com- of desire for the market for some years now, partly plex – as is the relationship between the institution due to their status as potential producers of knowl- and anything that is not within its bounds – but all the edge. As such, we are seeing a significant process of processes and prospects that seek to increase its privatisation of archives that may even end up influ- permeability and its openness to the outside world encing scientific and social agendas. are beneficial. One of the main characteristics of a political Some initial questions arise at this point: How economy of the “commons” is the attempt to move can we define the relationships between institu- beyond the distinction between the state and the tional and non-institutional archives? What are the market, a distinction that is a constituent element main differences between them? How can institu- of our legal and economic systems, as argued by tional archives open up to the outside world? What Pierre Dardot and Christian Laval (2014). The values expectations does an institutional archive raise, and of mutualisation, reciprocity, and collective action, how can it meet them? which are the bedrock of any concept of the commons, are framed within a reconfiguration of estab- Archive lished economic theories, and seek to institute other models. Economies An archive of the commons would thus be based on giving up both the guarantee of the state and the In Europe, the state has traditionally been the guar- logic of the market. As such, one of the challenges antor of the material and economic continuity of the facing these models is to find forms of continuity and archive, so much so that this permanence is one of its dissemination, in a context of institutional instability, defining characteristics. Outside Europe, other geo- economic precariousness, and discontinuity of the political instances have had to deal with historical specific agents on which they are based.

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Screenshot from El-Recetario.net. Photo courtesy of Makea Tu Vida.

Archivo del Duelo (Archive of Mourning). Photo courtesy: Archivo Histórico Ferroviario and CSIC.

Archivo de estudios campesinos (Rural Studies Archive). Photo: Abel Fernández López Courtesy: Rural Studies Archive.

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One of the key issues obviously has to do with questions in regard to an archive of the commons exploring the sustainability strategies that can be include: When was it created, in what context, and implemented by Archives of the Commons, while rec- for what purpose? (Conditions of emergence). Who ognising that Archives of the Commons produce an owns it? Who does it represent? Who does it target economy at every stage of their existence, from their or address? Who determines its uses? (Ownership of conditions of emergence to their modes of organisa- the archive). What does it contain? What are the cri- tion, management and proliferation. In this sense, an teria for inclusion in the archive? How is the archive archive of the commons produces an ecosystem that organised? What about the production of metadata? simultaneously allows it to exist and to open up to And interoperability markers? (Structure and classi- other actors, agents, and/or institutions. So instead fication criteria). How is it presented, disseminated, of questioning archive economies, we should per- and activated? (Modes of activation: curatorial, haps think about what economic-political ecosys- research-related, and political. Modes of dissemina- tems Archives of the Commons establish. tion, interconnection, and access). How is it managed and how is its sustainability ensured? (Sustainable management models and strategies). What concep- Techno-Political tual, archival, and technological devices are or should Devices be used? The structural, multifaceted debate that took place at the seminar sought to reconcile different The technological form of an archive is inseparable registers of experience and thought by combining from its political dimension. With the introduction of the local and international spheres, and the individual the Internet, the archive has become one of the key and collective domains. The rich debate and the fer- battlegrounds of contemporary societies. The cre- tile exchange of ideas showed that there is a strong ation of technological devices that allow openness, need to open up spaces of this nature. The event as well as hybrid, mutable taxonomies, collective became what we could call ground zero for a shared production, and universal accessibility, is the condi- reflection that we hope will continue on a long- tion of possibility for Archives of the Commons. Key term basis, as a means of exploring new prospects

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Archivos en uso (Archives in use) is a collective project initiated by various working groups of the Red Conceptualismos del Sur and of the “Grupo de Estudios sobre Arte, cultura y política en la Argentina reciente” (Recent Argentinian Art, Culture and Politics Study Group), based in the Gino Germani Research Institute, Social Sciences Faculty, University of Buenos Aires.

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for building architectures that will contribute to the INFORMATION ON THE ARCHIVES

reformulation the meaning of “the common”. ARCHIVO CONTRA LA PARED (ARCHIVE AGAINST THE WALL) A digital archive of graphic politics. The collection is Translated from Spanish by Nuria Rodríguez made up of documents (posters, pamphlets, stickers, etc.) made by political and social collectives and initiatives from Seville, stretching from 1978 to the present day. The REFERENCES materials are from local movements, ecologists, anti-milita- — Dardot P. and Laval C. 2014, Commun. Essai sur la révolu- rists, the libertarian movement, self-managed social cen- tion au XXIe siècle (Common. An Essay on Revolution in the tres, the student movement, feminisms, the labour and trade 21st Century), La Découverte, Paris. union movement, left-wing political parties, and citizen — Perec, G. 1974/ 1997, “Think/Classify”, in J. Sturrock platforms, among others. (ed.), Species of Spaces and Other Pieces, Penguin, London. ARCHIVO DE ESTUDIOS CAMPESINOS (RURAL STUDIES ARCHIVE) A project that organises and catalogues existing documents on trade union and political struggles in the rural world, and on social movements advocating food sovereignty, and agroecological research conducted from the second half of the twentieth century to the present day in the Andalusia region. The project was started and developed by the Juan Díaz del Moral Rural Studies Group.

ARCHIVO DE LA AUTONOMÍA JUVENIL DE MADRID (ARCHIVE OF YOUTH AUTONOMY IN MADRID) This archive encompasses a broad documentary collection of youth collectives from Madrid, produced for the most part in the period spanning 1986 and 2003. It comprises a com- pilation of original documents (posters, stickers, conference minutes, pamphlets), primarily collected from activists’ personal archives. The project is carried out with the support of the research group Globalisation and Social Movements from the Nomad University.

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ARCHIVO DEL DUELO (ARCHIVE OF MOURNING) DESMEMORIADOS (FORGETFULNESS) A multidisciplinary research project that aims to preserve, An open platform in which information, documents, research, catalogue and study the mourning that took place after the images and any form of content that contributes to build- 11 March terrorist attacks in Madrid in 2004. This initia- ing the Collective Memory of Cantabria are gathered. Without tive is promoted by Spain’s Scientific Research Council attempting to organise academic transience – for instance, (CSIC) and looks to recover materials that were destined to bounded by epochs or time periods – the project started by become ephemeral, for instance photographs, drawings, texts the La Vorágine collective stretches from the time preced- and placards, as well as other materials left in improvised ing the proclamation of the Second Republic in Spain (1931) shrines, to establish an archive of collective memory. The to the initial years in the period starting from the death archive is deposited in the Archivo Histórico Ferroviario of Franco and the transition to democracy at the end of the (Historic Railway Archive). 1970s.

ARCHIVO DIGITAL DE LA AUTONOMÍA OBRERA EL RECETARIO (THE COOKBOOK) (DIGITAL ARCHIVE OF WORKERS’ AUTONOMY) A research platform in the sphere of ecological design, the A project promoted by the Espai en Blanc Foundation that re-use of waste and open-source, committed to promoting DIY compiles experiences, publications and books on the assembly culture in our society. This initiative by Makea Tu Vida con- and anti-capitalist movements behind independence struggles stitutes a repository with which to promote the development during the Franco regime and the transition to democracy in of open design tools and strategies in recycling and using Spain. The documents gathered in the digital archive largely waste, thereby promoting collaborative work as a decentral- hail from a clandestine archive compiled since 1965 in ised method of learning and empowerment. Barcelona by different activists from autonomy spheres. FEMINICIDIO.NET ARCHIVOS EN USO (ARCHIVES IN USE) A website developed to give visibility to domestic violence A platform that assembles materials from research carried in Spain and Latin America. The platform strives to create a out on art and politics in Latin America, and developed by social network by joining news, interviews, articles, spe- Red Conceptualismos del Sur (RedCSur), in dialogue with cial research and online training and promoting the search the custodians of the materials. The project aims to pre- for appropriate legal regulations for feminicide. It has serve and collectivise these materials, and the platform was also developed an online database, where all the information initiated and is developed by RedCSur and promoted in col- that is available can be consulted and is organised into dif- laboration with the Study Group on Art, Culture and Politics ferent categories of abuse suffered by women. in Modern-day Argentina, from the Gino Germani Research Institute at the University of Buenos Aires.

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HUMAN COSTS OF BORDER CONTROL A database which organises information from official sources on people who died while attempting to reach southern European Union countries from the Balkans, the Middle East and North and West Africa. The project, started by a team of researchers from VU University Amsterdam, aims to develop this tool in order to promote greater research, new analyses and specific changes related to migration policies.

PAD.MA An archive of video material, primarily footage and unfinished films. The entire collection can be downloaded, viewed, annotated and edited online as it puts forward different types of viewing and contextualisation as well as cat- egorisations and descriptors. The project initiated by the platforms camp (Mumbai), 0x2620 (Berlin) and Alternative Law Forumindian (Bangalore) aims to free sequences (videos and images), as much as spectators, from the conventions of editing.

WOMEN IN BLACK A feminist non-violent organisation against militarism, created in Serbia in 1991, which has built a worldwide solidarity network. Symbolically dressed in black, the organisers carry out interventions in public spaces in order to prevent and resolve conflicts through dialogue and to encourage women’s active participation. The organisation produces a textual and visual archive of struggles, protests, actions, reminders and legal procedures.

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ARCHIVES OF THE COMMONS: KNOWLEDGE COMMONS, INFORMATION, AND MEMORY

CARLOS PRIETO DEL CAMPO ARCHIVES OF THE COMMONS: KNOWLEDGE COMMONS, INFORMATION, AND MEMORY – CARLOS PRIETO DEL CAMPO

The Museo Nacional Centro de Arte Reina Sofía in The idea is to extend the Museo Reina Sofía’s Madrid seeks to produce a concept for archives, and paradigm of the “museum of the commons” and possible models for its practical implementation by apply it to the organisation and conservation of the the museum, using the paradigm of the commons to: countless types of archives that proliferate in the (1) reflect on matters relating to social, cultural, artis- social field in the form of different models and forms tic, political, and historical memory in the present, of organisation, and that are essential to organis- with the work of the archives that produce, conserve, ing and making accessible the experience and his- and transmit it; (2) analyse the importance of caring torical perception of the present. This notion of for the common heritage of the collective memory of the “museum of the commons” draws attention to minor and subaltern groups, so as to shape histori- the profound changes that have transformed the cal memory and the cultural perception of social time museum over the past few decades as a result of from the perspective of social, artistic, and enun- (1) the deconstruction – or rather, the irreversible ciative practices that are not ordinarily part of the and unmitigated destruction – of the paradigms of dominant public sphere and do not use the prevailing modernity and postmodernity; (2) the profound eco- channels of social expression and communication, nomic, social and political crises sweeping our soci- and (3) consider how these archival practices can eties and their forms of artistic, institutional, political, contribute to a new framework of political and social and cultural representation, and (3) the structural imagination that will strengthen the democratic changes to cultural institutionality and its artistic nature of our societies at a time when the homogeni- vessels, its audiences, its reference groups, its con- sation of discourse inevitably equates to the end of stituencies, and its users in general, as a result of the the democratic prospect of communicative action modification of the processes of production of value and, as such, of political constitution. and surplus value, and hence productive, artistic,

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political, and economic changes, which have, in turn, ownership models, and on the urgent need to prevent affected countless perceptive, cognitive, aesthetic the expropriation, co-optation, and monopolisation of and artistic behaviours, and the products and arte- collective memory and of its different forms of social facts derived from them. construction and expression. Over the past few years, this interest in archives This research initially involves: (1) the conceptu- has taken the form of a complex networked ecosys- alisation of the archive – in today’s context of highly tem in which the Museo Reina Sofía, along with other volatile information, memory and social commu- agents (principally the Red Conceptualismos del nication – as a vessel for collective memory, linked Sur or Southern Conceptualisms Network, and also particularly to the knowledge and practices of the Fundación de los Comunes or Commons Foundation) dominated classes and subaltern groups, who face and institutions in Spain and Latin America, has increasing difficulties when it comes to creating supported the implementation of archival policies narratives of contemporary practices of their situa- extraneous to the logic of the market and to the tions, and of the interconnections between these, nationalisation of artistic collections. Part of this the experience of history and the creation of other process has entailed formulating a narrative from a forms of politicising their collective and individual position enunciated through the plurality of accounts lives; (2) the definition and description of the manner generated by the agents involved (particularly the in which these archives – which sustain an impor- archipelago of initiatives that cluster around the Red tant common wealth of shared memory, experience, Conceptualismos del Sur). It has also called for the and identity – can be created, managed, conserved, use of public, social, private and communal shared and opened up to citizens and to the public in gen- resources, and the materialisation of conservation eral, in an exercise of civic and democratic culture, strategies and initiatives that are assembling a new irrespective of the criteria of belonging to a particu- “archive of the common” through the specific prac- lar nation, or of having sufficient financial means for tices of recovery, conservation, and public dissemi- their use and enjoyment, and (3) the creation of pos- nation, particularly in Latin America. The aim of these sible models for the co-participation of public and initiatives has been to reflect on the idea of “common private bodies in organising, managing and protect- heritage” based on the different possible shared ing these archives, and in ensuring their feasibility

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1. The Archivo del given their vulnerability on two to succumb to absorption by pub- 2. For example, Human Duelo is a multidis- fronts: the threat of privatisation lic institutions or to commerciali- Costs of Border Control ciplinary research is a database based on project that aims to (for instance, the collective mem- sation by private institutions. In official, state-produced conserve, catalogue, ory of certain struggles or major order to explore these problems evidence on people who and study the expres- social events that have shaped further, the research will be organ- have died while attempt- sions of grief after the ing to reach southern Madrid train bombings the experience of the present but ised around three principal core European Union countries on 11 March 2004. The have been sidelined by the media, areas of reflection: (1) archive from the Balkans, the CSIC (Spanish National academic and institutional estab- models and the institutional forms Middle East, and north- Research Project) is run- east Africa. ning this project that lishments’ modes of production that make the archive possible; 3. Such as Feminicidio. seeks to recover public of discourse and memory, as in the idea is to present and analyse net, a web portal that expressions that are the case of the collective mem- a broad survey of repositories cre- puts the spotlight on ephemeral by nature, such gender violence in Spain. as photographs, draw- ory of the Madrid train bombings ated from the 1970s to the pres- ings, texts, banners, on 11 March 2004 1 , of the cycle ent, and to talk to the custodians of this material and and other materials left of struggles around the 15-M immaterial collective memory about their aims and at improvised alters, in order to compile a Movement, of the migrants who their forms of organisation; (2) archive economies collection of collective have died in the Strait of Gibraltar and the methods and protocols that ensure the dis- memory. and the Mediterranean 2, and of semination and sustainability of archives without the victims of gender violence in Spain and Latin sacrificing their idiosyncratic identity or their dif- America 3). ference, while guaranteeing socioeconomic and The “archives of the commons” is based on the political accessibility, as well as high standards of notion of the archive as an engine for political activa- conservation, and (3) the techno-political tools that tion in the present. It also seeks to establish devices can be used to organise the archive, as instruments that do not annul or objectify the grassroots systems that guarantee openness, dynamic taxonomies and that gave rise to these exercises in the conserva- universal accessibility as a sine qua non of archives tion of memory, which give the archive its value and of the commons. the inventive potential of a new institutionality. The This research will be organised around the fol- museum is aware of how terribly easy it is for them lowing theoretically-strong hypotheses that will

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Round-table discussion: The Future of Memory and the Expropriation of the Political Sense of the Present. Participants: Jorge Reina Schement, Nancy Kranich, Carlos Prieto, William Gambetta and Ariella Azoulay. Museo Reina Sofía, 12 December 2015. Photo: Courtesy of Red Conceptualismos del Sur.

Human Costs of Border Control The Deaths at the Borders Database is the first collection of official, state-produced evidence on people who died while attempting to reach southern European Union countries from the Balkans, the Middle East, and North & West Africa, and whose bodies were found in or brought to Europe.

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generate the working protocols and, at the same time, orientations, intellectual sensibilities, and senses of be tested as the research proceeds. historicity, there will not be the minimum diversity required to build the new fragments that make up the Hypothesis 1 social imagination. And this new ecology of memory and construction of the social – and therefore politi- Archives of the commons cal – imagination will only be feasible if the experi- are common by nature, ence of historicity and of the archive of the commons and defend the commons. can guarantee the distributed and decentralised production of the information commons, which is its The fight against new enclosures ties in with the bedrock. These information commons are thus the defence of the archive as a commons, and as such fundamental element that the archive initially pro- its management models must simultaneously enable: duces or could produce. Today, the information com- (1) the construction of decentralised, open, diverse, mons are subject to powerful processes of enclosure democratic “exercises in memory” generated by that seriously hinder the creation of archives of the subjects connected to the need to preserve the his- commons and their potential role as key devices for torical memory in question, and (2) a form of conser- the distribution and interaction of social memory. vation and feedback that ensures that the growth, From the perspective of the archives of the commons, accessibility, conditions of use and quality of access the information commons contribute to building the of the archive are diverse, democratic, and universal. knowledge commons of the historical sense of col- To this end, the research aims to explore the institu- lective memory. Both types of commons must be spe- tional strategies that guarantee the emergence of cific areas of reflection within the field of the archive this new ecology of memory, as well as the common of the commons, and they must be at the centre of reconstruction of history through the creativity of production of a new institutionality. This hypothesis modes of conservation of social experience. Unless could also be formulated as an affirmation by which collective memory has the opportunity to re-create the archive of the commons is a device that produces and construct itself from the perspective of differ- and guarantees access to and conservation of the ent groups, experiences of shared interests, political new information and knowledge commons, and that,

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in its operation, counteracts, opposes, or blocks the decolonisation of their practices and contents. social, institutional, and technological enclosures The decolonial criteria particularly tie into the that threaten these material and immaterial com- possibility of organising the collective memory of mons. This dual action is what guarantees the con- ethnically invisibilised or racialised subaltern sub- struction and democratic use of the archives of the jects who live in Europe and beyond, in countries commons. that often deprive them of the right of citizenship and of basic civil and political rights. This is a huge Hypothesis 2 obstacle to the possibility of producing archives of the memory of the different social, cultural, political, An archive of the commons must necessarily and existential situations that are so overwhelming be decolonial and, by historical imperative, and on such a large scale that they form part of the an object of decolonisation. social experience tout court of the societies in which those populations without rights are present. The Archives of the commons are archives organised same applies in terms of access to these repositories around a critique of the violence of modernity vis-à- of memory, which often focus on social groups made vis processes of memory construction, of the hier- up of subjects whose life stories involve people who archisation of different peoples, and of the creation live and move through different national territories of hermetic circuits of socioeconomic and cultural for family, cultural, or socioeconomic reasons. These reproduction. They also encompass the plundering subjects and these individuals may be interested in of the objects that have embodied this memory, both consulting, accessing, and using these archives, but in the global sphere of modern imperialism – histori- they may find it difficult to do so due to the current cally speaking – and in the politics and micropolitics structure of the system of states, in which borders, of (post)modernity practiced in today’s national soci- checkpoints and the lack of international mobility eties. There can be no archives of the commons, let are obstacles to large sectors of the world’s popula- alone “museums of the commons” unless the con- tion. The work of the Human Costs of Border Control struction and operation of these new institution- archive is a paradigmatic example of this situation, alities are founded on decolonial criteria and on the given that its content and collective memory have to

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do with individuals and communities whose lives are enjoyment of these archives. Archives of the com- influenced and mediated by the existence of borders mons are based on the hypothesis that technology is and mobility controls that drastically affect their exis- inherently social, and that this social dimension must tence, their lives, and sometimes their deaths. be carefully taken into account to ensure that good technological strategies are not ruined by the failure Hypothesis 3 to take into account the social inequality that affects the potential use of these tools by different social Archives of the commons must be and economic groups due to the great variations in democratic, non-discriminatory, their cost and affordability. and generally accessible to all actual Archives of the commons should thus think and potential users; this accessibility about Internet connectivity as a prerequisite that is must be built in to their design, their structure, essential but not sufficient to enable the production and their operation. of information and knowledge commons. Similarly, archives of the commons must take into account that Archives of the commons must opt for technologies working on specific user profiles, and the ongoing and forms of sourcing and accessing content that are attention to inequality in regard to the skills and the as open as possible, so that their use is not filtered for socioeconomic, educational, and cultural status of financial, cultural, political or national reasons, either the population in general are essential for achieving by institutional design or as a result of the technol- equality in the use of these commons. ogy architecture. This means that the physical and the virtual use of these archives must be conceived in accordance with the criteria of maximum access, from the perspective of connectivity, capacity, content, and context. The technology design should not limit the objective potential of the Internet, which is never neutral, by failing to take into account the lim- its affecting these four hypotheses for the use and

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Names of the women murdered between 2010 and 2014. Design: Francisco Gatica. Courtesy of Feminicidio.net.

Feminicidio.net (Femicide) is a web portal that puts the spotlight on gender violence in Spain.

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Hypothesis 4 for debating possible lines of action that seek to invent alternative forms of institutional, social, and An archive of the commons is a device political organisation, and other models for human for the reconstruction of memory and relationality and coexistence. of the historical-political sense of the present; In 2016-2017, the Museo Reina Sofía’s main lines this is due to its process of creation of work with regards to archives of the commons are: and because of the possibilities it offers (1) to continue to explore the nature of archives of the to interested parties, groups, collectives, commons, in order to gather and produce documen- and citizens. tation and analyses that can encourage and begin a public debate on this new modality, actively involv- Given that collective memory is a means of building as many agents as possible in the discussions. ing social domination in the imaginary and symbolic The idea is to bring about broad public debate on the spheres, the archive of social movements – which statutes, models, financing, and management of the have played a crucial role in history but have been archives of the commons; (2) to define working meth- defeated as political actors with the capacity to orga- ods and sequences of objectives that will ensure that nise the dominant institutionality and its production the activities organised around this subject – based and conservation – must operate under a different on ongoing public engagement – will generate a solid logic: one that is created, defined, and implemented collection of materials that can be used in different in the specific conditions in which the struggle for forums and with the different agents that the project the meaning of the past and the present is being comes in contact with or that it sets up collaborations played out today. In these socioeconomically turbu- or working relationships with, through the museum. lent times of huge technological innovations, and During the next two years, the museum aims major changes in the political subjectivity of social to achieve the following objectives: (1) to theoreti- actors, the archive of social movements becomes key cally and sociologically define what an “archives of to the invention of the future in terms of collective the commons” is in the present and what it could action and of the activation of social energies. This become, and the possible forms of operation and collective memory of social movements is essential organisation, from the point of view of organisation,

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conservation, access, and operation; (2) to specify to the new social institutionality of the commons; (3) the social needs that this kind of archive meets in the a debate on the archive’s forms of relations with pri- current social context, and the social objectives of vate agents and with public institutions, in order to this kind of “institution of the commons” in conserv- explore the possibilities of creating a new regime of ing, recreating, and expanding a democratic public organisation and operation that explores the com- sphere in times of social crisis and crisis of financiali- mons statute of this type of institutionality; (4) the sation in the worlds of art, culture, and the economy, creation of training protocols for people who directly with the resulting impact on the modes of creating manage archives of the commons, and of educational and recreating collective memory, and (3) to explore tools for this purpose; (5) the sharing of management the right to collective memory, and to its conserva- tools that can contribute to creating this institution- tion and study, of subaltern groups and subjects who ality of the archives of the commons, so that they have to deal with media, cultural, academic, and insti- can be used and shared by archives that work along tutional realities that have been and are increasingly these lines of organisation and operation; (6) the impermeable to their voices. definition of models of financing and sustainability for The programme of activities that the Museo archives of the commons that guarantee their conti- Reina Sofía will organise will thus be oriented nuity and ensure their high quality and social impact towards an accumulative, work-in-progress method through general access; (7) the definition of employ- in order to produce a series of “products” that could ment sustainability models for the persons who work initially be as follows: (1) the conceptual design of directly with archives of the commons, and sustain- the institutional model of the archive of the commons able models for financing, co-financing, or involving as a device for managing documents, artworks, and public and private organisations; (8) the creation of aesthetic and socio-cultural artefacts; (2) the defi- legal statutes for archives of the commons and the nition of a model or models of statutes for archives study of the possible implications of their existence of the commons, and modes of operation that can within institutions, as well as possible models of legal guarantee their stability, dynamism and accessibil- regulation that guarantee their common nature; (9) ity in accordance with the hypotheses and premises the definition of the possible legal status of archives explored in the research process so as to contribute of the commons as an agency that is recognised and

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supported by public institutions with a view to promoting the creation of a new public sphere that leads to innovative processes of democratic and social incorporation, and (10) the analysis of new intellectual property models that may be useful for allowing general access to the material contained within the archives of the commons. The products resulting from these research dynamics will operate in the public sphere as artefacts and discourses, generating debates and lines of consensus on the issues underlying the institutional creation and definition of the archives of the commons.

Translated from Spanish by Nuria Rodríguez

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BIOGRAPHIES DECOLONISING ARCHIVES

Lawrence Abu Hamdan Filipa César

Lawrence Abu Hamdan is an artist, private ear and Filipa César’s films and projects have been focused currently a fellow at the Vera List Center for Art and on the specters of resistance in Portugal’s geo- Politics at the New School, New York. His audio political past, questioning mechanisms of history investigations have been submitted as evidence in production and spanning spaces for performing the UK Asylum and Immigration Tribunal and most experimental knowledge. Since 2011, César has been recently were part the No More Forgotten Lives cam- researching the origins of cinema in Guinea-Bissau, paign for Defence For Children International. The its imaginaries and potencies, developing the col- artist’s forensic audio investigations are conducted lective project Luta ca caba inda (the struggle is not as part of his research for Forensic Architecture over yet). She was a participant of the research proj- at Goldsmiths College London where he is also a ects Living Archive (2011-13) and Visionary Archive PhD candidate. His solo exhibitions include Earshot (2013-15) at the Arsenal - Institute for Film and taqiyya) at Video Art, Berlin. Selected Film Festivals include) هيقت ,(at Portikus Frankfurt (2016 Kunsthalle St Gallen (2015), Tape Echo (2013) at 59. Kurzfilmtage Oberhausen; 20.-23. Curtas Vila do Beirut in Cairo and Van Abbemuseum, Eindhoven, Conde; 43. and 46. Forum Expanded, Berlinale; IFFR, The Freedom Of Speech Itself (2012) at Showroom, Rotterdam; 9. DocLisboa. Selected exhibitions: 8. London, The Whole Truth (2012) at Casco, Utrecht. Istanbul Biennial; Serralves Museum, Porto; 29. São Additionally his works have been exhibited and per- Paulo Biennial; Manifesta 8, Haus der Kulturen der formed at venues such as Shanghai Biennial (2014), Welt, Berlin; Jeu de Paume, Paris; Kunstwerke, Berlin; Whitechapel Gallery London, MACBA Barcelona, Tate NBK, Berlin; SAAVY Contemporary, Berlin; Futura, Modern London, M HKA Antwerp, Beirut Art Center Prague; Khiasma, Paris; Tensta konsthall, Stockholm. and Taipei Biennial (2012). Abu Hamdan’s writing can be found in Forensis. The Architecture of Public Truth, Sternberg Press (2014), Manifesta Journal and Cabinet Magazine.

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Mela Dávila Freire Wolfgang Ernst

Mela Dávila Freire serves since January 2016 as the Wolfgang Ernst, Full professor for Media Theories Director of Public Activities of Museo Reina Sofía. at the Institute of Musicology and Media Studies, She has performed a number of roles in contemporary Humboldt-University, Berlin. Studied history, Latin art institutions, which include the Galician Centre of philology, and (partially) classical archaeology. Ph.D. Contemporary Art (Santiago de Compostela), MECAD thesis on historicism and museology; habilitation on / Media Centre d’Art i Disseny (Sabadell), MACBA, the technical and symbolic infrastructures of national (Contemporary Art Museum of Barcelona), where memory. Teaching experience and guest professor- she was in charge of the Publications Department ships at several universities (Kassel, Leipzig, Cologne, between 2000 and 2005, and was director of the Weimar, Bochum, Paderborn). Other publications in Study and Documentation Centre between 2007 and English: Digital Memory and the Archive (2013); Sonic 2012, putting in place innovative formulas for manag- Time Machines (forthcoming 2016); Chronopoetics ing and disseminating the museum’s documentary (forthcoming 2016). Current research fields: time- collection, which spans a library and an archive of based and time-critical media processes; implicit contemporary artistic practices. In 2012 she moved “sonicity” in techno-mathematical media; experi- to Hamburg, working as a professor of Art History at menting the writing of media time in non-historio- the University of Hamburg, as well as an advisor and graphic ways. an independent author in relation to art archives, artist publications, bibliographic publications and other related areas. She has recently advised the Lafuente Archive (Santander), the Arts Libris book fair (Barcelona) and the documenta archive, for which she compiled an update project.

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Crystal Fraser Rado Ištok

Crystal Fraser is a PhD Candidate in the Department Rado Ištok is currently completing the programme of History and Classics at the University of Alberta in in Curating Art at Stockholm University. His collab- Canada. Her research considers the everyday lived orative graduation project (2015) with Yvonique experiences of northern Indigenous people and the Wellen consisted of a strand of events concen- Indian Residential School system during the second trated around the issues of decolonising knowledge, half of the twentieth century, posing provocative self-organised art education as well as racialised questions about colonialism, critical race theory, and structures of inequalities in higher education; and gender and sexualities. In 2014, she was declared a included artists Grada Kilomba, Dmitry Vilensky and national leader and visionary, through A Bold Vision, Apichaya Wanthiang. He previously studied art his- and is a former SSHRC doctoral fellow. Crystal, the tory at Charles University in Prague. As a governmen- granddaughter of Marka and Richard Bullock, is tal scholar he conducted research at the University of Gwichya Gwich’in and originally from Inuvik and Tree Copenhagen (2012-2013) and in 2014 he participated River, Northwest Territories. in a curatorial course at The Salzburg International You can find Crystal on Twitter at @crystalfraser, Summer Academy of Fine Arts supported by the Erste on academia.edu, and LinkedIn. Foundation through the tranzit network. As an intern he worked for Tensta konsthall, Stockholm and SALT, Istanbul (2015), where research for the current publication was initiated and generously encouraged.

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Ana Longoni Marisa Pérez Colina

Ana Longoni is a writer, researcher of CONICET and Marisa Pérez Colina is a political scientist and politi- professor in Universidad de Buenos Aires. She cal activist with ties to collective projects and expe- received a BA in Literature and a PhD in Arts from riences such as the feminist research-action space the Universidad de Buenos Aires, where she cur- Precarias a la Deriva and the Agencia de Asuntos rently lectures on graduate and postgraduate Precarios Todas aCien, and cross-border networks courses. She also teaches at the Programa de like Ferrocarril Clandestino and the Asociación Estudios Independientes (Independent Studies Sin Papeles de Madrid. She is also an independent Programme) of MACBA (Barcelona) and other univer- researcher on the impact of neo-liberal policies on sities. Her research is specialised in the crossroads welfare state institutions, and how they have been between art and politics in Latin America since the affected by the 2008 crisis and non-state public 1960s. Amongst her publications, alone or in col- institution models and institutions of the common. laboration: Del Di Tella a Tucumán Arde (2000; 2008), She is currently part of Ganemos Madrid and Ahora Traiciones (2007), El Siluetazo (2008), Roberto Jacoby. Madrid, and works as a coordinator in the “Fundación El deseo nace del derrumbe (2011), Leandro Katz de los Comunes”. (2013) and Vanguardia y revolución (2014). As a play- wright, she had written: La Chira (2003) and Árboles (2006). As a curator, she coordinated the exhibitions Desire Rises from Collapse (2011) and Losing the Human Form (2012), both at the Museo Reina Sofía (Madrid). She is an active member, since its foundation in 2007, of the Red Conceptualismos del Sur.

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Carlos Prieto del Campo Karol Radziszewski

Activist in European social movements, Carlos Karol Radziszewski (b. 1980) is a multidisciplinary Prieto del Campo has a PhD in Philosophy from the artist, filmmaker and curator. Graduated from the Complutense University of Madrid, and is an expert Academy of Fine Arts in Warsaw in 2004. He is pub- in accounting and public sector auditing after having lisher and editor-in-chief of DIK Fagazine and founder worked as a civil servant for the Spanish Ministry of of the Queer Archives Institute. His multidisciplinary Economy and Finance between 1989 and 2010. He is research, as well as his archive-based methodol- also an independent editor and activist in the field of ogy, crosses multiple cultural, historical, religious, culture, and has been editor of the Spanish version of social and gender references. His work has been pre- New Left Review since 2000, director of the publish- sented in institutions such as the National Museum, ing project Cuestiones de antagonismo (1999–2012) Museum of Modern Art, Zacheta National Gallery of and Prácticas constituyentes since 2013. He has Art, Warsaw; Kunsthalle Wien, Vienna; New Museum, held different management posts in Spain’s public New York; Cobra Museum, Amstelveen; Wroclaw sector and was dean of the Quito Institute of Higher Contemporary Museum; Museum of Contemporary National Studies (2013–2014) and an adviser to the Art in Krakow and Muzeum Sztuki in Lodz. He has par- Ecuadorian government. He is Director of the Study ticipated in several international biennales includ- Centre at Museo Reina Sofía and is a member of the ing PERFORMA 13, New York; 7th Göteborg Biennial, editorial board of L'Internationale Online. Gothenburg; 4th Prague Biennial and 15th WRO Media Art Biennale, Wrocław.

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Red Conceptualismos del Sur Jeffrey T. Schnapp

Red Conceptualismos del Sur is a collective initia- Jeffrey T. Schnapp is the founder/faculty director tive bringing together a set of researchers and art- of metaLAB (at) Harvard and faculty co-director of ists scattered around various parts of Latin America the Berkman Center for Internet and Society. His most and Europe, which proposes to establish itself as a recent books include The Electric Information Age platform for common thought and action dealing Book (with Adam Michaels [Princeton Architectural with contemporary relations between art and poli- Press 2012]); The Library Beyond the Book (Harvard tics. It was founded in 2007 by a group of research- University Press 2014); and Digital Humanities, an ers concerned with the need to intervene politically essay on cultural heritage issues published in Italian in the neutralisation processes of critical potential in the Meet the Media Guru series. of a set of ‘conceptual practices’ that took place in Digging through dark abundance of media, mate- Latin America since the early 1960s. Since its foun- rial, and data collections, metaLAB embraces the pro- dation, the network has been involved in a long-term cessual artifacts buried within the lives of digital and reflection on the uses and politics of archives, work- physical objects. With a team composed of scholars, ing on the organisation and constitution of some of writers, designers, developers, and filmmakers, meta- the most important artists’ archives in South America. LAB projects manifest as experiments in publication, The latest publications include Desinventario (2015) pedagogy, and curation showcased in print, on the and Arte y disidencia política : Memorias del Taller 4 web, and in exhibited spaces. By combining tradi- Rojo (2015). tional modes of practice, metaLAB research infuses scholarship with the spirit of hacking, making, and artistic investigation.

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Rona Sela Andrea Stultiens

Dr. Rona Sela is a curator, researcher of visual his- Andrea Stultiens studied photography on BFA, MFA tory and lecturer at Tel Aviv University and Shenkar and MA level in the Netherlands and is a PhD candi- College. Her work focuses on the visual represen- date at Leiden University. Her interest is not in the tation of the Israeli-Palestinian conflict and their individual image, but in the development of a criti- political and social aspects, on human rights issues cal approach towards the tacit narratives that appear and the role of the archive in zones of conflict. She when sequencing and contextualising photographs examines how the Zionist/Israeli systems, as one from a specific cultural historical context for vari- component in a huge mechanism of domination and ous audiences. Since 2007 most of Stultiens’ work conquest, control the visual sphere of both Israelis deals with images of Africa in general and Uganda in and Palestinians for ideological/national objectives. particular. In 2011 she initiated the archival platform One of her projects exposes how, by various means History In Progress Uganda together with Ugandan of force, Israel looted Palestinian treasurers, have artist Rumanzi Canon. become a large reservoir of knowledge about the Palestinians, giving Israel control over their history and culture. Her recent work deals with the development of Palestinian civil society – among them artists and activists - who are fighting to reduce inequality and apply democracy to all residents of the state. She has curated numerous exhibitions and published many books, catalogues and articles on these topics.

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Mabel Tapia Zoe Todd

Mabel Tapia is an independent researcher (Buenos Zoe Todd (Métis) is from Amiskwaciwâskahikan Aires, Paris). She is currently finishing a PhD at the (Edmonton) in Treaty Six Territory in Alberta, Canada. École des Hautes Études en Sciences Sociales She writes about Indigeneity, art, architecture, decol- (EHESS) and the Universidad de Buenos Aires (UBA). onisation and healing in urban contexts. She also Her research focuses on art practices from the twen- studies human-animal relations, colonialism and tieth century involving the use of archives, activism, environmental change in northern Canada. She is a political engagement that have as one of their main tenure-track lecturer in Anthropology at Carleton characteristics, the deactivation of the aesthetic University in Ottawa, Canada and a PhD Candidate in function. Processes of legitimation, valorisation Social Anthropology at Aberdeen University. She was and visibility of contemporary practices in relation a 2011 Pierre Elliott Trudeau Foundation Scholar. to the phenomenon of reification within new paradigms in both artistic and socio-economic fields are part of her investigation. As editor, she has coordinated the following: Losing human form. A seismic image of the ’80s in Latin America (2013 ; 2014), Really Useful Knowledge (2014) and Desinventario (2015). She is member and 2015 coordinator of the Red Conceptualismos del Sur platform.

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PUBLISHED BY CONTACT L’Internationale Online natasa.petresin@ www.internationaleonline.org internationaleonline.org

PUBLICATION DATE GRAPHIC DESIGN 2016 Project Projects

EDITORIAL BOARD LAYOUT Nick Aikens Antoine Bertaudière With the support of the Culture Sara Buraya Boned Programme of European Union Başak Çaka WEBSITE DEVELOPMENT Diana Franssen Systemantics Nav Haq Sònia López GENERAL COORDINATOR November Paynter KASK / School of Arts of Attribution - NonCommercial-ShareAlike CC BY-NC-SA. Nataša Petrešin-Bachelez University College Ghent This license lets others remix, tweak, and build Alicia Pinteño upon your work non-commercially, as long as they Carlos Prieto del Campo PROJECT SUPPORT credit you and license their new creations under the Steven ten Thije SALT identical terms. Adela Železnik PROJECT LEADER GUEST CO-EDITOR L’Internationale Rado Ištok This project has been funded with support from the European Commission. MANAGING EDITOR This publication reflects the views only of the author, and the Nataša Petrešin-Bachelez Commission cannot be held responsible for any use which may be made of the information contained therein. COPY EDITOR OF THE ENGLISH TEXTS IN THE RESEARCH SECTION The contents of this journal are published according to the terms Caroline Hancock of the Creative Commons License unless otherwise mentioned.

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