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Can a gritty residue of counter-archives be found in soils, rocks, mounds, as the discourses of materiality organize its forgetting? Does history cling to the world in its erasure, the earth as a collector of disobedience, rebellion, and revolt, claiming time outside the colonial clock?<\/i><\/p>\n
Kathryn Yusoff1<\/a><\/p>\n Imagining the human since the rise of capitalism entangles us with ideas of progress and with the spread the rise of techniques of alienation that turn both humans and other beings into resources. <\/i><\/p>\n Anna Lowenhaupt Tsing2<\/a><\/p>\n In the air, earth, and water, in the cultures of the indigenous people of Africa, Asia, and the Americas, in the pagan beliefs of Europe, and in the contemporary theoretical discourse of new materialism and posthumanism, lives the idea that humans and all other natural entities are interconnected. Our bodies share elements, bacteria and viruses. We draw our energy from the food that grows and matures under the same sun and comes from the same soil we walk on. The inhale of one is the exhale of the other. Along with human and more-than-human material bodies, our stories and destinies are intertwined. The landscape and its inhabitants not only bear human footsteps, but also preserve them. Traces and narratives thus transcend the time horizon of our lives and resonate in the bodies of non-human fellows. Even when it seems that there is no one left to tell or listen to, you should look around and search \u2013 complete silence has never existed.<\/p>\n The final chapter of the Beyond Belief <\/i>series uncovers forgotten narratives that at first glance may seem unbelievable or fictional. But their traces are imprinted in the landscape where they took place, which becomes a unique testimony and an ever-growing archive. In the selected art films, mountains serve not only as specific settings that, by their very nature, shape the course of events, but also as unique figures within historical narratives. The selected videos, each in its own speculative way, expand on the figure of the mountain to address themes of colonialism, extractivism, and the possibilities of resistance to these political forces. Another unifying layer of the curatorial programme is the cinematic reflection on human labour \u2013 both as a form of oppressive mechanical dictatorship and as a source of revolutionary potential.<\/p>\n Shadi Harouni <\/b>is an Iranian-Kurdish artist originally from Hamadan. She currently lives in New York, where she works as an Assistant Professor and Head of the Department of Photography and Video at NYU. In addition to photography and video, her artistic practice also focuses on sculpture and text, archival materials and site-specific interventions. In her recent lecture at the School of the<\/i> Art Institute of Chicago<\/i>, she said that “history is not only marked by official events that are recorded, but by declarations of hope; declarations of the promise of new worlds, peace, freedom, utopia and revolution. <\/i>(…) And even when that promise is broken, which it often is, it’s not a loss that we, that everything around us, is somehow imbued with that promise. <\/i>(…) My work as an artist has been to search for images, places, objects… for sentient subjects \u2013 humans, animals and plants \u2013 that are imbued with the promise of resistance and revolution.<\/i>“3<\/a><\/p>\n