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Archive Journal N°9
May 23, 2017June 3, 2020CurrentBy Archive Journal

Archive Journal N°9

Initiated by visual artist, researcher and amateur plant breeder Åsa Sonjasdotter, in collaboration with practitioners of cultivation, the project Peace with the Earth – Tracing Agricultural Memory, Refiguring Practice revisits histories of agriculture. It investigates soil, habitat and dwelling histories, in order to challenge and transform long-established cultural narratives of cultivation and ecological thinking.

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In Past issues

What is Cinema for Us?

Throughout the world when people use the term cinema all refer more or less consciously to a single cinema, which for more than half a century has been created, produced, industrialised, programmed and then shown on the world’s screens: Euro-American cinema.
          This cinema has gradually imposed itself on a set of dominated peoples. With no means of protecting their own cultures, these peoples have been systematically invaded by diverse, cleverly articulated cinematographic products. The ideologies of these products never ‘represent’ their personality, their collective or private way of life, their cultural codes, or of course the least reflection of their specific ‘art’, their way of thinking, of communicating — in a word, their own history... their civilisation.
The images this cinema offers systematically exclude the African and the Arab.

Previous issues

Archive Journal N°8
April 12, 2020June 3, 2020Issues

Archive Journal N°8

Archive Journal N°7
April 12, 2020June 3, 2020Issues

Archive Journal N°7

Archive Journal N°6
April 12, 2020June 3, 2020Issues

Archive Journal N°6

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  • What is Cinema for Us?
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  • Tracing Agricultural Memory, Refiguring Practice
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  • The Order of Potatoes. On Purity and Variation in Plant Breeding
  • Archive Journal N°9
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————————————————————— Archive Books recent titles

This collection of writings from Bonaventure Soh Bejeng Ndikung presents, for the first time in one volume, essays and proposals edited anew. Ndikung’s expanded curatorial practice delineates the space of exhibition making as a space of critical thinking and of experimentation. By proximity, these texts echo each other, resonate with each other, interfere with each other, and present perspectives on the political, poetic, and philosophi-cal potentials of exhibition making, beyond the tight corset of the discipline itself.

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