counter-archiving

The legacy of Dura-Europos is well known through hundreds of scholarly publications and continuing work in the archives of the excavations held by Yale University Art Gallery. The absences in the traditional accounts of Dura’s excavation history are also increasingly evident, including the role of local archaeological labour, and the relationship between local Syrian communities such as that of Salhiyeh — the settlement on the Euphrates immediately beneath the plateau on which Dura sits — and the archaeological site. This chapter presents oral history research which attempts to address such archival absences and speaks to alternative legacies. Our research, conducted through interviews, examines the strong but complex relationship between local people of Salhiyeh and al Athar (‘the ruins’). That relationship is one which was often forged in childhood, and sometimes involved mixed feelings of pride and alienation. The recent damage to the site was, for some local people, only one in a long line of losses, with the site’s artefacts, and knowledge related to the site, inaccessible long before the most recent conflict began.

Sur Gallery is placed on the traditional territory of many Indigenous Nations. The area known as Tkaronto has been caretaken by the Anishinabek Nation, the Haudenosaunee Confederacy, and the Huron-Wendat. We acknowledge the current treaty holders, the Mississaugas of the Credit First Nation. This territory is subject of the Dish with One Spoon Wampum Belt Covenant, an agreement to peaceably share and care for the Great Lakes region. Today, the meeting place of Tkaronto is home to many Indigenous people from across Turtle Island and we are very grateful to have the opportunity as immigrants and settlers to this land to work and present here.

This paper takes an 'Epistemic X-ray' of the neoliberal knowledge economies in an era of climate emergency, and unpacks the infinite growth metanarrative of neoliberal production and promises for prosperity, health and wealth. The paper situates 'epistemic safety' as a veritable site of contemporary struggle, solidarity and liberation in relation to climate emergency, planetary health and late capitalism.

📌 https://www.liebertpub.com/doi/10.1089/omi.2024.0003

“The master’s tools will never dismantle the master’s house.”
- Audre Lorde (Lorde, 1983)

Cecilia Araneda is a Winnipeg-based Chilean-Canadian filmmaker and curator. Her works have screened at venues such as Visions du Reél, Ann Arbor, Images, RIDM, Documenta Madrid, Festival Internacional del Nuevo Cine Latinoamericano, Bienal de la Imagen en Movimiento, TIFF Wavelengths, Film Anthology Archives, and Maysles Documentary Center. Araneda's debut feature film, INTERSECTION (starring Carmen Aguirre) was released in the fall of 2022. She has also been awarded art residencies by LIFT: The Liaison of Independent Filmmakers of Toronto as the inaugural recipient of the Roberto Ariganello Prize (2017) and by Q21 in Vienna's MuseumsQuartier (2019). Araneda is also a nationally-recognized media art curator and is a past recipient of the national Canada Council for the Arts Joan Lowndes Prize for curation in the visual and media arts. She was a co-founder of the WNDX Festival of Moving Image and served as Executive Director of the storied Winnipeg Film Group / Winnipeg Cinematheque from 2006 to 2017. Araneda holds a BFA from York University, an MFA from the University of British Columbia, and is additionally a three-time alumna of Film Farm.

Sur Gallery acknowledges its partner Ready2Post as well as its funders the Canada Council for the Arts, Canadian Heritage through its Community Support, Multiculturalism, and Anti-Racism Initiatives Events component, Ontario Arts Council, Toronto Arts Council, and The City of Toronto through section 37.

This volume explores the Arctic as an important and highly endangered archive of knowledge about natural as well as human history of the anthropocene.
Focusing on the Arctic as an archive means to investigate it not only as a place of human history and memory - of Arctic exploring, ›conquering‹ and colonizing -, but to take into account also the specific environmental conditions of the circumpolar region: ice and permafrost. These have allowed a huge natural archive to emerge, offering rich sources for natural scientists and historians alike.
Examining the debate on the notion of (›natural‹) archive, the cultural semantics and historicity of the meaning of concepts like ›warm‹, ›cold‹, ›freezing‹ and ›melting‹ as well as various works of literature, art and science on Arctic topics, this volume brings together literary scholars, historians of knowledge and philosophy, art historians, media theorists and archivologists.

This article examines life conditions for Black “mixed race" children in the boarding schools of former Italian colonies in East Africa by taking into account both archival colonial sources and oral sources. It problematizes the very notion and function of colonial archival spaces by conceiving “the Archive” as a locus of power characterized by inherent practices of invisibilization, in which whiteness has been historically institutionalized and maintained. In contrast, the article suggests the idea of the “body-archive”, namely epidermic and carnal counter-archives of bodies, marked – and scarred – by the histories of colonialism and whiteness. By providing a reading of archival colonial sources “against the grain”, the analysis demonstrates how the gaps, the silences, and the unwritten present in “the Archive” can be filled by the voices and memories of (post)colonial subjects whose counter-narratives may unveil hidden dynamics of power embedded within ideas of knowledge rooted in colonial paradigms.

Walking in nature has long been associated with creativity. Yet walking's associated research and artistic practices remain dogged by representationalism. Concomitantly, intersectional concerns of race, gender, and dis/ability determine what kinds of bodies are allowed to walk where (and in this case, the where is Brexit-era Britain). This article attempts to navigate the complexity of these tensions, contextualizing a fiveday walking research-creation project along St. Cuthbert's Way that we called Queer Sonic Cultures. As academics and artists interested in the relationship between walking and composition, our initial propositions are to become affectedas we walked and to create sonic cultures (songs) using whatever affected us along the way. In using research-creation as a research methodology, we understand our artistic compositional practice of co-creating lyrics-melody-harmony-production-arrangement as the research. Unlike some forms of arts-based research that use an artistic form to disseminate research findings, in research-creation the artistic practice is the research and the theory. In the interests of continuing to make this apparent, we shall prefer to describe this contextualizing article as Academic Liner Notes. The Academic Liner Notes begin with a brief description of the location of the walk, contextualized within the tradition of walking and composing in the British landscape, and the use of sound-based methods and literature to represent such landscapes. Following this, we will introduce research-creation as a methodology contextualized within affect studies. We argue that the resultant sonic cultures (nine in total) rather than representing the walk, in fact, more-than-representationally intensify the affective dimensions of the relations we were part of along the way.

This essay begins with the limitations of reflection in teacher education practitioner research. We wonder about the confines of a reflective practice that is solitary, ahistorical, and written in a particular academic register with an audience of one in mind. Instead, we explore the potential of walking methodologies as critical praxes with a group of pre-service educators. To do so we take a walk that is collective and focused on the way history is entangled with the students’ multimodal responses to this experience. We argue that walking as reflective praxis produces different possibilities in the space of teacher education. Pre-service educators participated in a mode of public pedagogy that challenges the treatment of teaching and learning as ahistorical and universal processes that can be neatly represented by the written word.

Editoryal,
I - Musallat Olan Görüntü
Karşı Adli Bilimler ve Fotoğraf Thomas Keenan Saptanabilirliğin Eşiğinde İnsansız Hava Aracı Savaşı Eyal Weizman
Delil Olarak Nesnel Fotoğraf ve Video İhtiyacı Murat Deha Boduroğlu
HUKUK VE İMAJ (İKİ):nesnel tanık olarak kamera, “yalan söylemez” Oktay İnce
II – Arşiv Ateşi
Arşiv Üzerine On Tez Shaina Anand
Arşiv Tahayyülünde Baskın Olan, Arta Kalan ve Doğmakta Olan Lawrence Liang Çöpü Arşivlemek; 8mm Arşivi Üzerine Ege Berensel
Nekro-siyaset üzerine – Arşivlemeyi Sömürgesizleştirme Pelin Tan
III – “Müştereklerin Otonomluğu”
Görmek Ait Olmak Demek Olduğunda: Tahrir Fotoğrafçılığı Lara Baladi Canlılık ve Zamandışılık Eric Kluitenberg Mirasın Altına Tüneller Kazmak Sevgi Ortaç Karmaşık Ağların Yaratıcı ve Eleştirel Kullanımı Burak Arıkan Otonom Arşivler Özge Çelikaslan
Kolektiflerle Görüşmeler: İnadına Haber, Seyr-i Sokak, Videoccupy ve vidyo kolektif .Normal Vatandaşlar Kaybolsun! Özge Çelikaslan, Alper Şen
Bir anti-arşiv manifestosu bak.ma kolektifi

In December 2017, in the Revolution Street of Tehran, back then an unknown feminist activist, stood on the utility box, tied her headscarf to a stick, and waved it to the crowd. In less than a month, in other streets and cities, women and men did the same anti-compulsory hijāb performance. Coincided with the uprising against the government, the images of the unveiled woman went viral. Consequently, the "Daughters of the Revolution," as a non-movement was born and became the symbol of the anti-government uprising, while they had apparent distinguished roots and demands. This momentum opened new directions for political activism and drastically affected the discourse of the feminist movement in Iran. What makes a simple (un)veiling performance such strong and significant for the feminist movement and political protests? In this presentation, I delve further into this question through retracing and unveiling the less visible narratives of women protests in Iran. For more than a century, women in Iran have struggled to raise their voices in public, resist patriarchy, religious fanaticism, and domestic violence. Confronting the Iranian state's discriminatory policies, women have demanded their rights, albeit with various strategies, due to their differences in the perspectives, political projects, and approaches in addressing gender inequality and women's conditions. This very encapsulated and inevitably uncomprehensive narrative aims to contribute to a subjective history of contemporary women's struggles by putting the female body and its performance at the heart of the political contestations.

Archives, as repositories of culture and knowledge, are closely linked to colonial power, control, hegemony, and conquest. In recognizing the limitations and problems of conventional archives, scholars and artists offer counter-archiving as a method of interrogating what constitutes an archive and the selective practices that continuously erase particular subjects. Unlike static, stable, and linear colonial archives, counter-archives are grounded in accountability and reciprocity. Similarly, the anarchive is concerned with what it can do in the present-future. As such, anarchiving is less a thing, then a process or an action. This article examines anarchiving as research-creation practices through three provocations: anarchiving as indeterminate transformation, anarchiving as felt, and anarchiving as response-ability. We examine a particular anarchiving project Instant Class Kit dedicated to radical pedagogies and social justice. Anarchiving is fundamentally about practicing an ethics based on response-ability, stewardship, care, and reciprocity that center relationships to land, territory, human, and more-than-human bodies.

What is an event? For whom does an event amount to a provocation while others are left unmoved, debilitated, cold? How do some situations and encounters animate and provoke learning while others do not? How do sensitivities, receptivities, and empathies-human or otherwise-transform, or not, with respect to architecture, circulations of bodies through spaces, energetic and pheremonal transfers, the atmosphere of a room? What affective, embodied, and relational states arise when events do not, or, alternatively, when an event lingers without yet settling into a new ordinary?