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Jumana Manna, Foragers, 5 November - 3 December 2024                      Jumana Manna, Foragers, 5 November - 3 December 2024                      Jumana Manna, Foragers, 5 November - 3 December 2024                      Jumana Manna, Foragers, 5 November - 3 December 2024                      Jumana Manna, Foragers, 5 November - 3 December 2024                     
Jumana Manna, Foragers, 5 November - 3 December 2024                      Jumana Manna, Foragers, 5 November - 3 December 2024                      Jumana Manna, Foragers, 5 November - 3 December 2024                      Jumana Manna, Foragers, 5 November - 3 December 2024                      Jumana Manna, Foragers, 5 November - 3 December 2024                     
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Rebecca Salvadori, The Sun Has No Shadow

The Sun Has No Shadow is a visual journey across rave parties and sound performances. A journey that develops as a spiral, starting in the periphery of London by the A14 motorway and reaching its very dense core at the club FOLD. In this visual narrative, images become sites of experimentation, whose alteration and combination generate new patterns of meaning.


The Hero and the God

Joseph Campbell



The standard path of the mythological adventure of the hero is a magnification of the formula represented in the rites of passage: separation—initiation—return: which might be named the nuclear unit of the “monomyth."

Prometheus ascended to the heavens, stole fire from the gods, and descended. Jason sailed through the Clashing Rocks into a sea of marvels, circumvented the dragon that guarded the Golden Fleece, and returned with the fleece and the power to wrest his rightful throne from a usurper. Aeneas went down into the underworld, crossed the dreadful river of the dead, threw a sop to the three-headed watchdog Cerberus, and conversed, at last, with the shade of his dead father. All things were unfolded to him: the destiny of souls, the destiny of Rome, which he was about to found, "and in what wise he might avoid or endure every burden.


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The Feeling of not Belonging. Rebecca Salvadori in conversation with Felice Moramarco

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Rebecca Salvadori, Euroemptiness
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Rebecca Salvadori, Euroemptiness
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Rebecca Salvadori, Euroemptiness
Rebecca Salvadori, The Sun Has No Shadow
17 September - 16 October 2024
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Shuruq Harb, The White Elephant

“When you take something apart, how in the world do you remember how it’s supposed to go back together?" Using images shared on the Internet by Israelis during the Gulf War, the First Intifada and trance music gatherings, Shuruq Harb composes the portrait of a Palestinian teenager in the 1990s, in the mirror of Israeli pop culture.

Intifada: Uprising in Gaza

Anita Vitullo



"Everyone here has a demonstration inside his heart"


The uprising might have started any place, but it began in Gaza's Jabalya refugee camp—whose 50,000 residents now proudly refer to their home as mu'askar al-thawra ("camp of the revolution"). Gaza Strip residents fueled the uprising with demonstrations that sometimes numbered in the tens of thousands, waving flags and carrying symbolic coffins, chanting every variety of nationalist slogan and vowing to revenge the latest martyr. Youths controlled whole neighborhoods in the cities and closed off the entrances to their camps with stone barricades, garbage and burning tires. When soldiers entered, residents pelted them with stones, debris and, occasionally, petrol bombs. Local shopkeepers closed down and laborers who worked in Israel refused to go to their jobs. Israeli officials refer to the demonstrations as "riots" and defend their repression as necessary to preserve "law and order."


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Refiguring the Archive. Shuruq Harb in conversation with Lilly Markaki

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Woman surrounded by children. making victory sign El Askar refugee camp. Taken during the First Intifada, 1988. The Joss Dray Collection, via palarchive.org.
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Abu Libde's Daughter on Her Wedding Day. Taken in the first Intifada in 1988, in the Am’ari Palestinian Refugee Camp located in Ramallah. The Joss Dray Collection, via palarchive.org.
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A Photograph of Members of a Palestinian Refugee Family in Dheisheh Refugee Camp during the First Intifada, 1989. The Joss Dray Collection, via palarchive.org.
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A Glimpse of the Daily Life in Gaza, 1992. The Joss Dray Collection, via palarchive.org.
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A Demonstration Heading Ramallah. Taken in Ramallah during the First Intifada, 1989. The Joss Dray Collection, via palarchive.org.
Shuruq Harb, The White Elephant
13 February - 12 March 2024
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Anna Engelhardt and Mark Cinkevich, Onset

A demon roams through an ominous synthetic environment, reconstructed from satellite images of Russian air bases: Khmeimim in Syria, Baranovichi in Belarus, and Belbek in Ukraine. Passing through their deserted corridors, interrogation rooms, and electricity substations, this parasitic force sprawls out from the military structures. Devastation follows in its wake.

Imperial Power Grid: The Role of Energy in Russia’s Colonial Expansion

Mark Cinkevich and Anna Engelhardt



The politics of electricity extraction has been largely overshadowed by the explicit violence of oil and gas. Especially in the case of Russia, oil and gas has appeared to be the crux of the Putin regime’s strength. Today, with the rising demands of an energy embargo against Russia, we hope to support the legitimacy and widen scope of such demands by bringing up the question of electricity. Even though our investigation into dependence on electricity provided by Russia was developed before the escalation of Russia’s war of aggression against Ukraine, the colonial logic it reveals is still of relevance.


Providing an insight into Russia’s colonial energy extraction, we feel the need to first explain why we approach it as a matter of colonial politics, rather than class politics. Even though both are closely connected, certain types of colonial violence cannot (and should not) be explained with the logic of capital. Extraction is a particularly useful notion to explain such a difference. Extraction of value in some cases is not mutually exclusive with colonial extraction, with both types reinforcing one another.


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Applied Demonology. Anna Engelhardt and Mark Cinkevich in conversation with Lilly Markaki

Anna Engelhardt and Mark Cinkevich, Onset
8 May - 11 June 2023
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Tekla Aslanishvili, Scenes from Trial and Error

The endless tests of developing a futuristic smart city and deep sea port reshape a small fishing village of Anaklia in west Georgia. The film investigates the material and social conditions that are produced as a result of these ambitious infrastructural investments, aimed at transforming the country into a trade corridor for the New Silk Road project.

Orit Halpern and Robert Mitchell, The Smartness Mandate



On November 6, 2008, still in the immediate aftermath of the worldwide economic crisis initiated by the US subprime mortgage market collapse, then-chairman of IBM Sam Palmisano delivered a speech at the Council on Foreign Relations in New York City. The council is one of the foremost think tanks in the United States, its membership composed of senior government officials, members of the intelligence community (including the CIA), business leaders, financiers, lawyers, and journalists. Yet Palmisano was not there to discuss the fate of the global economy. Rather, he introduced his corporation’s vision of the future in a talk titled “A Smarter Planet.” In glowing terms, Palmisano laid out a vision of fiber-optic cables, high-bandwidth infrastructure, seamless supply chain and logistical capacity, a clean environment, and eternal economic growth, all of which were to be the preconditions for a “smart” planet. IBM, he argued, would lead the globe to the next frontier, a network beyond social networks and mere Twitter chats. This future world would come into being through the integration of humans and machines into a seamless Internet of Things that would generate the data necessary for organizing production and labor, enhancing marketing, facilitating democracy and prosperity, and—perhaps most importantly—for enabling a mode of automated, and seemingly apolitical, decision-making that would guarantee the survival of the human species in the face of pressing environmental challenges. In Palmisano’s talk, “smartness” referred to the interweaving of dynamic, emergent computational networks with the goal of producing a more resilient human species—that is, a species able to absorb and survive environmental, economic, and security crises by perpetually optimizing and adapting technologies.


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Failing Smart Cities. Tekla Aslanishvili in conversation with Felice Moramarco

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Anaklia Smart City project. via westonwilliamson.com
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Anaklia Smart City project. via westonwilliamson.com
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Anaklia Smart City project. via westonwilliamson.com
Tekla Aslanishvili, Scenes from Trial and Error
20 February - 26 March 2023
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Ana Vaz, Look Closely at the Mountains

“Look closely at the mountains!”: the phrase was coined by artist Manfredo de Souzanetto during Brazil’s years of dictatorship, when mining activities were destroying the environment in the state of Minas Gerais. The film draws parallels between this region and the Nord-Pas-de-Calais in northern France, also marked by over three centuries of mining.

Economic Development and Cosmopolitical Re-involvement

Eduardo Viveiros de Castro



The diversity of the forms of life on Earth is consubstantial with life as a form, or mode, of matter. This diversity is the very movement of life as information, a form-taking process that interiorises difference – the variations of potential existing in a universe constituted by the heterogeneous distribution of matter-energy – to produce more difference, that is, more information. Life, in this sense, is an exponentialisation, a redoubling or multiplication of difference by itself. This applies equally to human life. The diversity of ways of human life is a diversity in the ways of relating to life in general, and to the innumerable singular forms of life that occupy (inform) all of the possible niches of this world. Human diversity, social and cultural, is a manifestation of environmental, or natural, diversity – it constitutes us as a singular form of life, being our own mode of interiorising ‘external’ (environmental) diversity and therefore of reproducing it. For this reason the present environmental crisis is, for humans, a cultural crisis, a crisis of diversity, and a threat to human life.


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Imagining Otherwise. Roshini Kempadoo in conversation with Lilly Markaki

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Brumadinho dam disaster, Minas Gerais; Brasil, 2019. Via bbc.com
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Brumadinho dam disaster, Minas Gerais; Brasil, 2019. Via wsj.net
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Ana Vaz, Look Closely at the Mountains
31 October – 4 December 2022
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Aylin Gökmen, Spirits and Rocks: An Azorean Myth

On a volcanic island, inhabitants are caught in an unending cycle: the threat of impending eruptions and the burden of past traumas loom over them. Some draw upon myth and religious beliefs to interpret their precarious situation; others demonstrate resilience.

The Subharmonic Murmur of Black Tentacular Voids. Commentary on Nothing
Eugene Thacker



We may, in a general sense, think of mysticism as a vague, impressionistic feeling of wonder or awe that may or may not involve drugs, and that may or may not involve nature hikes and generally blissing out. We can also think of mysticism as actually enabled by an overly optimistic, "gee-whiz" scientific instrumentality, in which the Earth is the divinely-sanctioned domain of the human, even and especially in the eleventh hour of climate change. Neither of these is what we mean by mysticism here. Whether it is of the political left or right, whether it is the affectivist-hippie mysticism or the eschatology-of-oil type of mysticism, in both cases mysticism is ostensibly a human-centric and human-oriented experience. Mysticism in these cases is always a union "for us" as human beings.


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Mysticism after Geotraumas. Aylin Gökmen in conversation with Felice Moramarco

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Capelinhos Eruption, Faial Island, Azores, 1957. via portuguesemuseum.org
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Capelinhos Eruption, Faial Island, Azores, 1957. via portuguesemuseum.org
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Capelinhos Eruption, Faial Island, Azores, 1957. via portuguesemuseum.org
Aylin Gökmen, Spirits and Rocks: An Azorean Myth
15 September - 16 October 2022
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Emilia Tapprest & Victor Evink, Zhōuwéi Network

Zhōuwéi Network shows windows into three possible worlds set in 2041. Through a combination of bodily interactions, speculative interfaces and rhetoric, the work explores the affective experiences of living in these worlds, which are driven by very different ideas of a ‘good life’ or a ‘good society'.

Ambitopia and Affective Atmospheres. Unpacking Ideology Inside Pervasive Systems

Emilia Tapprest and Victor Evink



“Knife through the vast underwater realms of beauty and adventure. Use your sonar, dive deep, flip above the waves. Explore, solve puzzles, unlock the secrets of crystal glyphs. The fate of the world rests on your wits and fins.”


With this enticing description, adapted from the back cover of the 1992 SEGA game Ecco the Dolphin, a vivid narrator in the audio fiction piece ‘Liquid Dream’ welcomes the listener to a district-wide urban neverland for full-time gamers called Dolphin Waves. The playful and carefree tone reflects the ludic atmosphere of life in this place. Dolphin Waves is one of the three speculative near-future worlds of Zhōuwéi Network, a critical worldbuilding research project focusing on the relationship between embodiment, datafication and power. Through imagining three types of datafied societies in 2041 and bringing them to life cinematically, the research explores how different ideological underpinnings produce affordances for distinct affective undertones.


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Ambitopias and Affective Atmospheres.
Emilia Tapprest and Victor Evink in conversation with Felice Moramarco

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Emilia Tapprest and Victor Evink, Ambitopia and affective atmospheres, Table 1, 2021.
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Emilia Tapprest and Victor Evink, Ambitopia and affective atmospheres, Table 2, 2021.
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Emilia Tapprest and Victor Evink, Ambitopia and affective atmospheres, Table 3, 2021.
Emilia Tapprest & Victor Evink, Zhōuwéi Network
10 May – 25 July 2022
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Louis Henderson, Evidence of Things Unseen but Heard

Evidence of Things Unseen But Heard draws a relation between technologies of state surveillance against black communities in Bristol, the rise of sound system culture, and the exceptional character of “Bristol sound”. Shot around the St Pauls neighbourhood, while reflecting on Bristol’s history, which heavily rests on plantation labour and slavery, Louis Henderson stitches a sonic archaeology through archival photographs of the St Pauls carnival and the direct aftermath of the riots of 1980.

Evidence of Things Unseen but Heard

Louis Henderson



“…sound and silence. What bridges the two elements is echo, the traces of creation. If sound is birth and silence death, the echo trailing into infinity can only be the experience of life, the source of narrative and a pattern for history.”

Bristol, August 23, 2017


A grey and pink sky dashed across with the deep blues of post storm light. Dark rain clouds and a river the colour of lead. At Portishead the boat begins to bear right, from the Mouth of the Severn fed by the North Atlantic, into the River Avon and onwards towards the city of Bristol. Heading down past Clifton and into the Cumberland Basin, eventually the boat enters Bristol Harbour. On the left are the offices of Lloyds Bank, a company that grew to its powerful status from insuring enslaved people and slave ships during the Atlantic Slave Trade.


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The Ensemble of the Senses and the Ensemble of the Social. Louis Henderson in conversation with Lilly Markaki


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Photographic contact sheets documenting the St Paul’s riots in Bristol in 1980, courtesy of the Bristol Archives.
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Photographic contact sheets documenting the St Paul’s riots in Bristol in 1980, courtesy of the Bristol Archives.
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Photographic contact sheets documenting the St Paul’s riots in Bristol in 1980, courtesy of the Bristol Archives.
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Photographic contact sheets documenting the St Paul’s riots in Bristol in 1980, courtesy of the Bristol Archives.
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Photographic contact sheets documenting the St Paul’s riots in Bristol in 1980, courtesy of the Bristol Archives.
Louis Henderson, Evidence of Things Unseen but Heard
23 November - 19 December 2021
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Karrabing Film Collective, The Mermaids, or Aiden in Wonderland

The Mermaids, or Aiden in Wonderland is a surreal exploration of Western toxic contamination, capitalism, and human and non-human life. Set in a land and seascape poisoned by capitalism where only Aboriginals can survive long periods outdoors, the film tells the story of a young Indigenous man, Aiden, taken away when he was just a baby to be a part of a medical experiment to save the white race. He is then released back into the world to his family. As Aiden, a stranger to his own land is reinserted into existence; he becomes acquainted with territorial nature and folklore – mermaids, a bee, a cockatoo bringing forth a pertinent inquiry of whose and which lives matter.

The Normativity of the Creeks

Elizabeth Povinelli



All Or Nothing


There is a coastal tidal creek in Northern Australia where a young girl lies facedown. Called Tjipel in the language of the area, she came to this creek as a beautiful teenager who decided to dress as a young man, equipping herself with male clothes and hunting implements, including a spear and spear thrower. As she travelled down the coast, she did various things, including spearing a wallaby. But the heart of her story concerns an encounter she had with an old man. As she passed between two coastal points, a bird told her that an old man was approaching. And so she lay belly down in the sand to hide what parts of her body would reveal—that she was in fact an adolescent female. The old man, thinking she was a young man, insisted that (s)he get up and cook the wallaby. She put him off, claiming to be sick.


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Geontopowers. Elisabeth Povinelli in conversation with Felice Moramarco

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Aboriginal Land Rights protest, Brisbane, 1982. Via www.deadlystory.com
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Sol Bellear at Aboriginal Land Rights protest, Brisbane, 1982. Via www.abc.net.au
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Aboriginal Tent Embassy protest, Parliament House in Canberra, 1972. Via www.nma.gov.au
Karrabing Film Collective, The Mermaids, or Aiden in Wonderland
25 October - 21 November 2021
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Abtin Sarabi, Parcelles 7

The mad proliferation of the wind gives the trees strange outlines. The wet thread of our slumber ruptures in the night. The hand plunges into the beginning of the fire. The burning entrails of the fields suddenly appear at dawn. Here man is alone. In this loneliness, the shadow of sugar cane flows into eternity.

Ghosts of the Plantation

Caitlin Vandertop



Viewed as an energy-commodity, sugar can be seen to mediate the effect of energy on narrative time – what might be termed narrative energetics (Macdonald 2013) – in plantation fiction. As a commodity, sugar is a calorific fuel yet it also ‘naturalizes necessity’, in Niblett’s terms, ‘shaping bodies, tastes, habits, and even emotional geographies (sugar “highs” and “lows”)’ (Niblett 2015, 268). The historical process of cultivating the taste for sugar, as is shown in Sidney Mintz’s seminal study, Sweetness and Power (1985), altered the tempo of modern life by establishing disciplinary productivity in the cane fields and determining the hours of factory time in industrial Europe, forcing working-class women to substitute farmed foods for the short-term bursts of energy provided by the sugary cup of tea.


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Sugar Regime and the Gothic. Caitlin Vandertop in conversation with Felice Moramarco


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Senegal, ESA Earth Observation, 2019.
Abtin Sarabi, Parcelles 7
4 – 24 October 2021
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Camila Beltrán, Pacífico Oscuro

A long time ago, on the Pacific coast of Colombia, women used to make pacts with mystical forces to master the art of singing. But little by little, all of this knowledge that they learned from their ancestors has been forgotten. Ever since then, they have been missing something.

Social Movements and Biodiversity on the Pacific Coast of Colombia

Arturo Escobar and Mauricio Pardo



Rediscovering a region: the Colombian Pacific region


The Colombian Pacific region is a vast tropical rainforest area around 960 km long, its width fluctuating from 80 to 160 km (roughly 700,000 km2). It extends from Panama to Ecuador, and from the slopes of the western mountain range (Cordillera Occidental) to the Pacific ocean. An approximate 60 per cent of the population inhabits a few cities and large towns, while the remaining population dwells in riverbank areas along the more than 240 rivers flowing from the mountains to the ocean. Afro-Colombians, descendants of slaves brought from Africa at the beginning of the seventeenth century for gold-mining activities, form the majority of the population, although the number of indigenous inhabitants amounts to approximately 50,000.


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Sonic Healing and Ancestral Rituals from the Missing Channel. Camila Beltrán in conversation with Giulia Civardi

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Guasá, Cununo Y Marimba - Afrocolombian Music From The Pacific Coast, Vampi Soul and Palenque Records, LP, Vinyl cover.
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Candelario Obeso, Cantos Populares De Mi Tierra, Bogotá: Imprenta de Borda, 1877. Pages from the first edition.
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Divination ceremony and dance with percussion instruments, Zacharias Wagener, Watercolour, 1634/1668.
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Boat of Spirits, Noanamá ethnic group, Department of El Chocó, Ca.1960. Source: National Museum of Colombia.
Camila Beltrán, Pacífico Oscuro
4 September - 1 October 2021
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Pauline Curnier-Jardin, Explosion Ma Baby

It’s August. Feel the suffocating heat of the sun penetrating your skin. All around you, an abundance of flesh is spinning. Thousands of men offer up the naked bodies of baby boys to the angelic icon of San Sebastian. Screams, colours, chants and explosions. Money-garlands. Imagine no women except me. Wait, yes, behind us women are following with devotion, all dressed up in well pressed clothes and their stocking feet.

The Sacrificial Crisis

René Girard



Almost every society has festivals that have retained a ritualistic character over the centuries. Of particular interest to the modern inquirer are observances involving the deliberate violation of established laws; for example, celebrations in which sexual promiscuity is not only tolerated but prescribed or in which incest becomes the required practice. Such violations must be viewed in their broadest context: that of the overall elimination of differences. Family and social hierarchies are temporarily suppressed or inverted; children no longer respect their parents, servants their masters, vassals their lords. This motif is reflected in the esthetics of the holiday—the display of clashing colors, the parading of transvestite figures, the slapstick antics of piebald “fools.” For the duration of the festival unnatural acts and outrageous behavior are permitted, even encouraged.



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The Persistence of Dionysus. Lilly Markaki in conversation with Felice Moramarco


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Festival of San Sebastiano, Palazzolo Acreide, Italy, 1948. Courtesy Basilica di San Paolo and Salvatore Tinè.
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Festival of San Sebastiano, Palazzolo Acreide, Italy, 1948. Courtesy Basilica di San Paolo and Salvatore Tinè.
Pauline Curnier-Jardin, Explosion Ma Baby
13 August - 3 September 2021
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Arash Nassiri, City of Tales

City of Tales would have been a portrayal of present day-Tehran if its urban modernisation had not been frozen in the 1970s. Bathed in the fluorescence of Arabic signs scattered through the city and resonating of Persian voices, an altered Los Angeles landscape questions its own world-making status within dominant Western cultures.

Transnational Building of a Modern Planning Regime in Iran

Elmira Jafari & Carola Hein



In 1962, in the midst of the Cold War and under the direct influence of John. F. Kennedy’s presidency, Mohammad Reza Shah launched his White Revolution, generally known as a top-down modernization project.13 Due to rising socio-political unrest in Iran, Kennedy pressured the Shah to initiate reforms.14 The Kennedy administration hoped that the White Revolution reforms could prevent Communist-inspired revolution in Iran. The administration, therefore, funnelled money to Iran to stabilize the US position in the Cold War contest. However, for the Shah, the key ambition of the White Revolution was to make Iran in general and Tehran in particular a ‘showcase of modernization’ in the Middle East region.15 The White Revolution, therefore, embraced fundamental social and economic reforms in which land reform was among the most influential.


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Utopia Tehran. Bernard Hourcade in conversation with Felice Moramarco


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Victor Gruen and Abdolaziz Farmanfarmaian, The Comprehensive Plan of Tehran, 1966.
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Victor Gruen and Abdolaziz Farmanfarmaian, The Comprehensive Plan of Tehran, 1966.
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Victor Gruen and Abdolaziz Farmanfarmaian, The Comprehensive Plan of Tehran, 1966.
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Victor Gruen and Abdolaziz Farmanfarmaian, The Comprehensive Plan of Tehran, 1966.
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Victor Gruen and Abdolaziz Farmanfarmaian, The Comprehensive Plan of Tehran, 1966.
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Victor Gruen and Abdolaziz Farmanfarmaian, The Comprehensive Plan of Tehran, 1966.
Arash Nassiri, City of Tales
16 July - 12 August 2021
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Kani Marouf, Images of a Favour

Unable to reach the city of Kirkuk, Kani Marouf asked her Kirkuk-based friend Shaho Abdulkadr to send footage from his city during the invasion in October 2017 by the Iraqi central government, following the successful referendum for the independence of Kurdistan. So he filmed Kirkuk, in juxtaposition to Baghdad. However, after working on this footage, all the filmmaker can provide are speculations drawn from fragmented realities that appear on the screen. The images’ opaque quality confuses expectations from one’s inner imagination of the witnessed locations and their final portrayal.

Exile and Creativity

Vilém Flusser



This essay will explore neither the existential nor the religious connotations of the concept of the term exile. However, we should keep in the back of our mind the Christian story of man’s expulsion from Paradise and his entrance into the world, the Jewish mystic’s story of the exile of divine spirit in the world, and the existentialist story of man as a stranger in the world. All of these stories should be kept in the back of our mind without being verbalized. For the intention here is to interpret the exile situation as a challenge to creative activity.


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The Struggle of Representation. Kani Marouf in conversation with Felice Moramarco

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Laura Canali, in Limes ‘Il mIto Curdo’, July 2017. Courtesy Laura Canali and limesonline.com
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Laura Canali, in Limes ‘Il mIto Curdo’, July 2017. Courtesy Laura Canali and limesonline.com
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Laura Canali, in Limes ‘Il mIto Curdo’, July 2017. Courtesy Laura Canali and limesonline.com
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Laura Canali, in Limes ‘Il mIto Curdo’, July 2017. Courtesy Laura Canali and limesonline.com
Kani Marouf, Images of a Favour
11 June - 8 July 2021
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Nelson Makengo, Up at Night

As dusk fades and another night without electricity falls, Kinshasa's neighborhoods reveal an environment of violence, political conflict, and uncertainty over the building of the Grand Inga 3 hydroelectric dam, which promises a permanent source of energy to the Congo.

Kinshasa and its (Im)Material Infrastructure

Filip De Boeck



Simulacra of Infrastructures


In ongoing discussions concerning the nature of the African city architects, urban planners, sociologists, anthropologists, demographers and others devote a lot of attention to the built form, and more generally to the city’s material infrastructure. Architecture has become a central issue in western discourses and reflections on how to plan, engineer, sanitize and transform the urban site and its public spaces. Mirror-ing that discourse, architecture has also started to occupy an increasingly important place in attempts to come to terms with the specificities of the African urbanscape and to imagine new urban paradigms for the African city of the future. Indeed, one can hardly underestimate the importance of the built form and of the material, physical infrastructure if one wants to understand the ways the urban space unfolds and designs itself. For example, studying the process of the “bunkerization” of the city, as it is called by its inhabitants, that is the fact that one of Kinshasa’s crucial spaces, the compound, has evolved from an open space lined by flowers and shrubs in the 1940s and 50s to today’s closed parcelles, surrounded by high walls that make the inside invisible to the street, would certainly contribute to a better understanding of the city’s his-tory of unraveling social relationships, its altered sense of security and its changing attitude towards the qualities of public and private.



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Nelson Makengo. Field recording of the Christmas mass at Saint Mary Church in 2018 in Kinshasa, Congo


DEMO Moving Image Experimental Politics
DEMO Moving Image Experimental Politics
Nelson Makengo, Untitled, 2017.
DEMO Moving Image Experimental Politics
DEMO Moving Image Experimental Politics
Nelson Makengo, Untitled, 2017.
DEMO Moving Image Experimental Politics
DEMO Moving Image Experimental Politics
Nelson Makengo, Untitled, 2017.
DEMO Moving Image Experimental Politics
DEMO Moving Image Experimental Politics
Nelson Makengo, Untitled, 2017.
DEMO Moving Image Experimental Politics
DEMO Moving Image Experimental Politics
Nelson Makengo, Untitled, 2017.
DEMO Moving Image Experimental Politics
DEMO Moving Image Experimental Politics
Nelson Makengo, Untitled, 2017.
DEMO Moving Image Experimental Politics
DEMO Moving Image Experimental Politics
Nelson Makengo, Untitled, 2017.
Nelson Makengo, Up at Night
12 May – 8 June 2021


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