Results
Double Layers
https://moranmorangallery.com/selections/double-layers/
Triangulate this Tom Burr text with:
(1) excerpt from within itself (burr - kiko - helio connection)
(2) redacted form of kirsty bell text on alexandra bircken’s works
(3) a non-euro centric development of space/relations through football tactics
each build upon research regarding a way of working ‘against purity of discipline/working together’ and rather through strong intimate relations between disparate contexts.
note: will populate link of the other two from above list
Elene Chantladze, Simon Lässig at LC Queisser
https://www.lc-queisser.com/archive/elene-chantladze-simon-lassig
In Elene Chantaldze’s work everything seems to emerge from childhood and early education. From a past that finds each of her subjects and shapes everything
they do.
After having spent time with Elene Chantladze’s works I can see the presence of
one’s first experiences. I am reminded of what was there in the beginning and
belongs to the past, but remains to come back to us. I know where I am, but I do
not feel as if I am in the place where I find myself.
- Simon Lässig
Dhamma-Swaraj of 2018
https://www.goethe.de/ins/ae/en/kul/sup/aam/ryk/22251516.html
We have seen that Komu’s work is characterized by reversal and doubling, both ways of multiplying meaning to foreground the undecidable and so in some ways purely aesthetic element in social as much as political life. The mobility of his migrant figures betrays a history of both freedom and compulsion. Their portraits speak as much of these subjects as for or even against them like evidence that can be used by the authorities. While the silent iconography of Gandhi speaks volumes, Ambedkar’s ceaselessly speaking and gesticulating statuary may never be heard. Is the Mahatma who has vanished into his rival’s portrait more powerful than the mere husk the latter has become in the process? - Faisal Devji
Your father was born 100 years old and so was the Nakba ابوكي خلق عمره ١٠٠ سنة، زي النكبة
https://vimeo.com/214789743
An experimental short film on displacement and returning to Palestine via Google Streetview. In this experimental short film, filmmaker Razan AlSalah channels glitch aesthetics and digital erasure in a subversion of the physical borders and checkpoints imposed by the Israeli occupation.
Her films work with the material aesthetics of appearance and disappearance of indigenous bodies, narratives and histories in colonial image worlds. She often works with sound-images to infiltrate borders that have severed us from the land. Her films are both ghostly trespasses, and seeping ruptures, of the colonial image, that functions as a border, as a wall.
Geometry of the Accident (2014)
https://www.contemporaryartlibrary.org/project/lais-myrrha-at-pivo-sao-paulo-15714/1
Photograph of the exhibition Gameleira Project 1971.It was about one of the biggest accidents in Brazilian civil engineering construction history, which took place in Belo Horizonte in 1971.With Oscar Niemeyer’s project, Minas Gerais Governor had plans to inaugurate Palace of Industry, when it would be celebrated the 7th anniversary of the Military “Revolution” in Brazil. However before, part of the construction slab collapsed, resulting in 117 deaths and missing workers.
Thou Shalt Not Speak My Language, Abdelfattah Kilito
https://archive.org/details/thoushaltnotspea0000kili
Moroccan writer Abdelfattah Kilito investigates politics of language, bilingualism, translation, and cross-cultural relations.
The book, itself translated from Arabic, privileges anecdote over argument, drifting playfully through the centuries to explore the relationship between the Arab and the foreign.
What drives an image that moves between languages, registers, dialects and denies meaning the fixity it often gravitates towards? How do we make sense of circular motions, disjointed temporalities and muffled speech?
Today Diggers, Tomorrow Dickens
https://artreview.com/march-2014-review-cyprien-gaillard/
Cyprian Gaillard
The sense of duality is communicated so simply, meaning the way the pieces are put together seem to fit, absurdly. In the process also transforming each other, draining of function. creating almost a magical object.
Ahmed Al Almi, Studio Imperial
https://www.dailymotion.com/video/x811s8k
During the 1950s-1970s, there were four popular photographers studios located in the medina of Casablanca: Rex, Wifaq, Vogue and Imperial. Ahmed Al Almi is the photographer of Studio Imperial, and his work is particularly interesting because Moroccans are represented not as simple photographic “objects” but actors photographers.
Theater actors, singers, dancers, artists of Casablanca nightlife
and its cabarets, shikhates, orchestras, sportsmen, portraits of artists, scenes from plays theater, vinyl illustrations, cinema between posters and filming photographs, portraits of anonymous people, children, families, exteriors, class photos, coverage of events, personal archives...
Geometry of the Accident, 2014. Lais Myrrha
https://www.contemporaryartlibrary.org/project/lais-myrrha-at-pivo-sao-paulo-15714/1
Image of the exhibition "Gameleira Project 1971". The title links to one of the biggest accidents in Brazilian civil engineering construction history. With Oscar Niemeyer’s project, Minas Gerais state Governor had plans to inaugurate Palace of Industry, when it would be celebrated the 7th anniversary of the Military “Revolution” in Brazil. However, before that, part of the construction slab collapsed, resulting in 117 deaths and missing workers. Lais emulated the accident in Pivô gallery, that operates inside a Niemeyer building from 1966.
Material inconstancy, Hector Zamora
https://lsd.com.mx/artwork/inconstancia-material/
Performance when the workers pass it on bricks, but in between the performance they pass on messages, comments and purposely miss the bricks that collides and brakes inside the gallery.
Office siren, or bimbos also work
https://www.instagram.com/p/C3Ao4vfsoa6/
"Free-fall to come" is the name of the performance by Érica Storer e Sansa Rope, 2024. It consists of shibari rope knots being executed on a female performer dressed in an office-siren aesthetic, sitting at her desk. Together with her office desk, she hangs upside down from the ceiling, sending files through wi-fi to the desktop printer, laying on the floor. The texts printed quote "In Free Fall" essay by Hito Steyerl.
Offsetting Queer Literary Labor
https://read.dukeupress.edu/glq/article-abstract/24/2-3/239/134766/Offsetting-Queer-Literary-Labor
“Offsetting Queer Literary Labor” asks how LGBTQ+ people and other feminists navigated late twentieth-century changes in print technology from roughly 1965 to 1990, a period in which typesetting was first computerized and then all but abandoned as part of the preprint process. I do this by way of an encounter with the writings of Marxist-feminist poet Karen Brodine.
In Free Fall: A Thought Experiment on Vertical Perspective, Hito Steyerl
https://www.e-flux.com/journal/24/67860/in-free-fall-a-thought-experiment-on-vertical-perspective/
Just as linear perspective established an imaginary stable observer and horizon, so does the perspective from above establish an imaginary floating observer and an imaginary stable ground. This establishes a new visual normality—a new subjectivity safely folded into surveillance technology and screen-based distraction.
Shame, Annie Ernaux
https://fitzcarraldoeditions.com/books/shame
"My father tried to kill my mother one Sunday in June, in the early
afternoon. I had been to Mass at a quarter to twelve as usual."
It’s like emotional research (poor choice of words properly). Unravelling a painful layer of her family’s life. It starts with this traumatic event, a sort of culmination of everything that came before. The event that in itself unravelled their life, took pretension from it, an event that just leaves you to face your misery, a pandora’s box.
but as a piece of writing, it gives you this emotional story at the start, then dissects it and for me then the conclusions it draws are just as emotional as the start.
Sisters with Transistors
https://vimeo.com/ondemand/sisterswithtransistors
A movie about electronic music (and electricity, and technology, and people who are not understood/respected in their time). Made me think about how understanding the materiality of a medium makes it easier to connect with it.
Et hjerte i alt (A <3 in everything), Amalie Smith
https://www.amaliesmith.dk/
Interesting thoughts on; surfaces amongst other things. Philosophy, art history, personal notes...
Unfortunately not translated to english but her newest book Thread Ripper has been. It deals with the connections between weaving, coding and ai. + more.. i recommend.
https://www.lollieditions.com/books/thread-ripper
Moments Before the Wind, Jozef Wouters
http://www.varamopress.org/moments.html
Moments Before the Wind is a collection of notes on scenography. Sometimes I tend to think of this collection as notes on graphic design. My favourite notes are the ones on the story of the three pigs. “Which brings me to the three pigs. […] To me, the moral of that story is not the foundational and bourgeois warning that you have to act like the third pig who builds a solid house that the wolf can’t get into. I’m interested in the first pig. The pig who quickly builds a straw house, plays the flute all day long and survives by finding refuge, first in the wooden house and then in the stone house. In my opinion, the first pig is the scenographer: the builder of light spaces who shamelessly relies on the protection of heavy architecture. […] Scenography is a shared search in space. A conversation in straw, wood and stone.” (pp. 41-43) “Was there also a fourth pig that quickly built a house out loud, made only of words?” (p. 82)
Beasts of Southern Wild
https://beastsofthesouthernwild.com
I watched this movie on the big screen when it came out in 2012. I was twelve back then, but the movie stayed with me ever since. The film blends the harsh reality of the post-katrina world with a kind of fantastical world. It works as a perfect example how to visually translate a metaphor.
Invitation to the voyage / L’invitation au voyage (She or he had to start running now), Meggy Rustamova
https://meggyrustamova.com
The title of this work is taken from a poem by Charles Baudelaire: L’invitation au voyage. The text on the image invites the viewer to follow along, into the space of the image, scanning every detail and character, exploring both the world to be discovered in it and the materiality of the photograph itself.
