Author: Chiara Figone (Chiara Figone)

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Streams of Consciousness. Catalogue

The moment of a snapshot could be an extended moment of capturing the stream of consciousness. The moment something catches the attention of the photographer, the many associations that are made conceptually and aesthetically, the many references that are invoked and situations convoked lead to the shot. Thinking is as much an active as a passive process, and what becomes important is how that which is seen, heard, smelled, felt, tasted or perceived in another way triggers the inner eye to see or inner voice to utter thereby setting this stream of consciousness in motion.

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Courants de conscience. Reader

Conçue pour la 12ème édition des Rencontres de Bamako ce livre recueille la pensée des écrivains, des poètes et des artistes quant à la pratique de la photographie en Afrique et à travers sa diaspora de part la notion de « courant de conscience ».

La notion de courants de conscience est liée de manière intrinsèque à celle d’une profondeur de la vision : en d’autres termes, elle correspond à l’idée que la vision peut transcender ses confins optiques pour invoquer les autres sens. La photographie en tant que force vectorielle d’une telle conception de la vision, fait acte de prothèse pour combler notre regard appauvri.

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Streams of Consciousness. Reader

Conceived for the 12th Edition of the Bamako Encounters this book captures thoughts and responses of writers, poets, and artists to the curators’ proposition to think the practice of photography in Africa and its diaspora through the notion of the “stream of consciousness.”

The moment of capturing an image can be understood as a solidifying of the streams of consciousness which occur in the photographer’s mind in that decisive moment: the photograph then becomes the place of convergence of all conceptual, aesthetic and cultural ideas and associations out of which the impetus to capture arose.

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Rehearsing Hospitalities. Companion 1

Upon what kind of power structures of knowledge and knowing are contemporary art and artistic institutions dependent? Do practitioners in the art field reproduce oppressive Western epistemic paradigms through artistic practices and institutional structures, and if so, is there space for emancipatory ways of knowing? What are the ways that intersectional subjectivities open up new epistemic processes within the artistic field? These are among the questions and considerations that provide a critical lens for the 2019 Rehearsing Hospitalities programme.

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Archive Journal n°8

This issue of the journal resulted from the AntiColonial Records seminar that took place from the 24 to the 26 of October 2018 at Archive Kabinett in Berlin. This format of edited excerpts from transcribed conversations between the three groups of participants is a means to
document the multi-voiced gathering and to map various positions and urges informed by anticolonial methods and practices.

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Those Who Are Dead Are Not Ever Gone

The institution of the ethnological museum seems to be in the midst of a serious crisis of choking. The delicacies that most of these museums have acquired, which is to say co-opted, which is to say ingested, seem to have collectively missed the track to the oesophagus and got stuck in the respiratory tract. They have been stuck there for as long as the history of mass collections, acquisitions and looting, for as long as the ruthless and ongoing extraction of cultural property in the former colonies outside of Europe. A twelve-act essay on the maintenance of supremacy, the ethnological Museum and the intricacies of the Humboldt Forum.

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Ceux qui sont morts ne sont jamais partis

L’institution du musée ethnologique semble traverser une véritable crise d’étouffement. Les mets délicats acquis, ou plutôt cooptées, pour ainsi dire ingérées par la majorité de ces musées, semblent avoir été dépistés de la route vers l’œsophage et s’être coincés dans les voies respiratoires. Toutes ces choses y sont coincées depuis l’acquisition, le pillage, de ces objets. En somme, depuis l’impitoyable déracinement des biens culturels qui perdure jusqu’à nos jours dans les anciennes colonies hors d’Europe. Un essai en 12 actes sur la préservation de la suprématie, le Musée Ethnologiques et les complexités du Forum Humboldt.

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Die gestorben sind, sind niemals fort

Die Institution des Ethnologischen Museums scheint sich in einer ernsten Krise des Erstickens zu befinden. Die Delikatessen, welche die meisten solcher Museen meist unter zweifelhaften Bedingungen erwarben, mit anderen Worten genossen und verschluckt haben, scheinen kollektiv den Weg in den Oseophagus verpasst zu haben und blieben stattdessen im Atmungsapparat stecken. Sie hängen dort schon so lange fest, wie die Geschichte von Massensammlungen, Erwerbungen, Plünderungen; so lange wie der rücksichtslose und fortwährende Abbau von Kulturgut in den ehemaligen Kolonien außerhalb Europas bereits andauert.

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Universality and Particularity: What is Asianness?

The publication of this book, Universality and Particularity: What is Asianness?, is not a trivial matter. It contains a small segment from the recent thinking of professor Naoki Sakai and professor Sun Ge. Together they elaborate on the transcendental perspectives that the notion of Asia could provide in terms of entering regional histories, and of re-examining the issues left out in the assumed relationship between universality and particularity.

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Notes on Archives 5

Unnamed Series features a succession of artworks provoked by photographs that art historian Aby Warburg had taken as part of his travels to the Hopi Indians in 1898. Warburg noted that the images should never be published, but in the 1990s, the Warburg Institute in London made the images available as part of a glossy hardcover book. The book circulates around a series of aspects that this famous encounter evokes.

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Azin Feizabadi. After Cinema

This book marks the ten-year anniversary of the project A Collective Memory by Azin Feizabadi. The project encompasses five narrative-driven films, alongside other artworks. Each film has its own urgency, approach, and point of departure. The films naturally vary in their subjects, they touch upon stories of migration, uprising, transformation, revolution, renewal, collapse, defeat, depression, and desire that connect the life of the artist with those around him.

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Assaf Gruber. The Storyseller

Assaf Gruber’s films examine how art affects individuals who are not necessarily drawn to it. What may seem to be at the margins of culture sometimes turns out to be its most conspicuous parts. The films’ plots emerge from the situations of their characters, addressing the ways in which personal stories become intertwined with political ideologies, and how social relations between private and public spheres are shaped.

Film in the Present Tense
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Film in the Present Tense

This book brings together contributions from participants and guests of Film in the Present Tense – International Symposium on Current Developments in Analog Film Culture, held in Berlin. It reflects a contemporary discussion around the use, value and purpose of analogue film from a multiplicity of perspectives: artists, filmmakers, scholars, archivists, curators, technicians and manufacturers. Film in the Present Tense intends to provide a documentation of the collective momentum that characterized the symposium and it responds to the persistent desire to keep talking about analogue film.

Where is Cinema?
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Where is Cinema?

The book is compiled of portraits of film initiatives from around the world, interwoven with conversations with adventurers who have rebooted movie theatres or built them up from the ground, in the hope that it can be an inspiring compendium for future cinema builders, filmmakers, film curators and film lovers.

Where stories cut across the land
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Where stories cut across the land

This is not an artist’s book about borders. Rather, it is an artist’s book about overcoming the influence of politics on the land within the borders of unrecognized or semi-recognized states. It is a document of the fragmented symptoms of the “Bosnian pot” character of governance, in which all components simultaneously complement and eliminate each other.

Encircling the Image of Trauma
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Encircling the Image of Trauma

This book tiptoes between aesthetics and ethics; it proposes to rethink trauma in its necessity as well as impossibility to be represented and understood.
The traumatic experience of violence marks social orders and imbues history. How does it reach beyond distress and pain? This collection of works interrogates alternative narratives: The traces of trauma may also comprise a subversive potential, which withdraws from the hold of power and instead makes room for a sense of history's vulnerability.