A project that shows the provisional result of a dialogue. This dialogue articulates from a heterogeneity of starting points, which create a constellation of proposals from where to continue articulating the archive through an/archivistic practices.
On the fragility of the pre-state brings together the various materials proposed by Pedro G Romero, Edu Comelles, Ricardo Pérez-Hita, Francesca Masoero, Nabil Djedouani, Marina Planas and Marta Sesé. Despite the eclecticism of formats and contents, the common denominator between all of them, and all of us, is the meta-archival discourses and practices which activate the archive from unexplored perspectives.
As Pedro G Romero tells us “the ability to understand knowledge without absolute certainty, and to see the world through veracity but without no definitive truth, to be able to be in the unstable, is indeed possible from the artistic realm. Its application to the regime of the archive is necessary and evident’. The happy fragility proposed by Pedro G Romero is visible and practiced in the different works that are proposed as part of On the fragility of the pre-state. From soundscapes and its polyhedronous uses, for example, Edu Comelles tells us about the timelessness of the archive, its quiet and apparently inert nature that is activated intuitively at certain moments based on subjectivity and conceptualization. The archive in its previous state also reflects on the archive other lives, those that remain invisible. These preterite lives can also be futurable. Ricardo Pérez-Hita in A Contratiempo reflects upon this transgression. The interest in the soundscape is subordinated to its future collective reactivation.
Undoing hierarchies to liberate, socialize and share. It is precisely from this sharing that Qanat, a heterodox project that reflects on the politics and poetics of water, is developed as a space where archiving and activism become inseparable. Francesca Masoero, Qanat co-curator, focuses on archives of the Not Yet*, times-spaces that aim at curating/caring and radicalising forms of the otherwise performed as a response to the social, environmental and epistemic fractures produced by modernity and modernisation. Listening to, caring, and radicalising are key aspects of the projects Entangled Ecologies initiated by Louisa Aarrass, Noureddine Ezarraf, Sara Frikech and Francesca Masoero, Talwoued – Archives by Jerome Gillerand and Tussamrt by Shayma Nader in the context of Qanat. It is precisely Tussamrt and the struggle over water rights through sung poems the project attempts to collect and share that links this previous state of the archive to Nabil Djedouani‘s proposal. In “Nar” (Fire) and “Taxi Hassan” where Nabil reincarnates the archive to expose racism and censorship in 1980’s France and Algeria. This exercice on historical memory is transposed to the proposal of both Marina Planas and Marta Sesé. Through collage, in Mohamed, Marina Planas reflects upon a particular story within Mallorca’s recent history. The anecdote in the project Mohamed becomes symptomatic of the orientalist displacement of certain concepts and practices with fatal outcomes. The anachronism set out by Marina Planas is also explored by Marta Sesé co-curator of Archivo Rastro project, based on the practice of anachivism: ‘Anachronism emphasizes and promotes resistance to the archive’s order, encourages a different reading, the possibility to tighten the sense of the imaginary and extend its meaning, evidencing its errors and absences in its isolated or autonomous exhibition, offering multiple outputs through continuous processes of order and disordering’.
So, the fragility of the pre-state, or the ability to understand knowledge without absolute certainty, using intuition, undoing hierarchies to share and act radically, embedding the archive to recover uncomfortable memories and re-articulate from anachronism what seemed familiar. Un-studying and re-thinking the archive by focusing on the unexpected, trying to find out in the previous state possible physicalities and new empowerments.
* the term Not Yet is drawn from the practice of the artist Jeanne van Heeswijk.
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“La capacidad de poder tener un conocimiento sin certezas absolutas, y ver el mundo desde la veracidad pero sin ninguna verdad definitiva, ser capaz de estar en lo inestable, se debe a cosas que suceden en la esfera del arte, su aplicación al régimen del archivo es necesaria y evidente.”
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“A travers un travail d’archives, une tentative de réincarnation, j’ai cherché à remettre un visage sur ces prénoms. Derrière chaque prénom se trouvait un nom, derrière chaque nom un portrait ou la trace d’une mobilisation.”
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“L’arxiu pot ser també un territori on es desxifra, es referència i es descriuen altres paisatges, difuminant les fronteres entre territori i temps.”
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“És en aquest estat dorment, aquest estat previ, on l’arxiu resta amagat, inert, esperant la seva utilitat, on es gesten les idees necessàries per a l’activitat creativa, on la subjectivitat treballa constantment sobre la memòria d’el fet viscut.”
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“Todos los materiales sufren un proceso de desjerarquización, posicionandonos a favor del aprendizaje colectivo, del reclamo al derecho a la remezcla.”
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“Lo anacrónico enfatiza y promueve la resistencia al orden del archivo, propicia una lectura distinta, la posibilidad de tensar el sentido de los imaginarios y ampliar sus significados.”
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“We map the existing legacies of this system, embodied by ephemeral acts of resistance to cultivate and make germinate new collective understandings against existing socio-economic, identitarian and epistemic fractures.”
LAURA MARTINOVA
Keeping the website up to date with regard to content, style and system.
Since 2015 we can see Laura Martinova’s website as if it had been made yesterday.
LUXWAY – Curators of home design & technology
Luxway is a interior design and construction management company. In this case, we have worked on: redefining the corporate image, designing and programming the web and also generating new content (both texts and photographs) to define the company and present its projects.
It have been really nice to collaborate with: Andrea Perez-Hita (videos) and Blanca Escoda (texts).
ALTA ALELLA
Last 2018 I had the pleasure to define with Pujol-Busquets Guillén family a new graphic frame to present Alta Alella brand and its products. Developing the website and during the harvesting days being with them and my photo camera.
Swab 2017
PHOTOS SWAB ART FAIR – SEPTEMBER / OCTOBER 2017
KIBRIT and Platform HARAKAT were part of FOCUS MEDITERRANIA at SWAB Barcelona International Art Fair 2017.
FOCUS MEDITERRANIA, curated by Xavier de Luca, included artistic projects from Libya, Algeria, Tunisia, Morocco, Egypt, Syria, Palestine and Catalonia, offering an in-depth approximation into the cultural contexts of the Euro-Mediterranean region.
During the fair, we were presenting the projects developed by each KIBRIT partner, with a special focus on Platform Harakat, a project reflecting upon the traditions and contradictions of travelling and its multiple meanings weaved in the Mediterranean, Sahel and West African regions, developed by CeRCCa together with a group of artists, writers and curators and conceived as a step beyond the NACMM (North Africa Cultural Mobility Map).
