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• I CANNOT BE SILENCE(D) ANYMORE

  BY KIRSTEN HESHUSIUS

  Only by undergoing abuse do I now see it around me all the time—not only the abuse I experienced but also racism, gender inequality, abuse of the planet and the underlying structures of power. What strikes me in my waking up process is that the victims of whatever abuse suffer silently. Speaking up about it doesn’t help most of the time because people don’t believe you or tell you it wasn’t all that bad, whereby they are causing extra harm and isolation. I understand this mechanism of disbelief now. If you acknowledge abuse, you must step out of your comfort zone and leave behind this false sense of security. You have to take responsibility. Most people won’t do this. I stepped out of the groove—I cannot be silence(d) anymore.  
• (A)MARE CONCHIGLIE

  BY Kyrahm and Julia Pietrangeli

  Nettuno (Rome, IT), July 3, 2015. It’s almost the sunset at the beach that used to be the theatre of war during the dramatic landing of Anzio and Nettuno during World War II. A long white table waits in the sea; a rubber boat lands on the shore. The passengers join the banquet: an aged man, two young women and a few African men. They took their seat in front of a small and curious crowd. Each of the guests tells his odyssey. The African refugees share the stories of their long journey to escape from the unbearable living conditions in Nigeria, where they lost their relatives in violent criminal attacks, then to get to Libya, where they experienced the miserable conditions of the war and the underground prison detention. The lovely elder from Sardinia tells about his experience as an immigrant to Germany. He recounts the time when the Italians used to travel in masses after the last war, flooding the train stations with their cardboard luggage; a similar scenario recalling the past century exodus when the Italians used to embark to America. The story of the young woman born from a Sicilian mother and an African father reveals peculiar mixtures between different cultures in an unusual family story torn between dishonour and love. At the end of the feast, everybody takes part in the ritual of the salt thrown in the sea. To remember the sisters and the brothers that couldn’t make it, and to restore the sea in the sea. This performance, documented live, involved elderly Italian migrants and refugees recently arriving in Italy willing to share their stories to the casual audience of the beach.
• FUTURE MONUMENTS

  BY Nathalie Anguezomo MBA Bikoro

  "In every African country we establish a careful inventory of all colonial statues and monuments. These we shall collect in a single park, which will serve as a museum for generations to come. This pan-African park-cum-museum will serve as colonialism's symbolic grave on our continent. Once we have performed this burial, let us --- promise never again to erect statues to anyone at all. Instead, let us build everywhere libraries, theatres, cultural centres - all these things that from this day forward will nourish tomorrow's creative growth." Achille Mbembe. Future Monuments is an interactive meditation of historical visual experiences based on a visual interactive archival Opera score of which the video herewith is part. The project develops an experiment in sense-memory politics as a series of interventions examining memory and colonial histories in the past, present and future. Each score from the series will challenge visual experiences and perceptions about the way in which political language shaped histories, our sense of collective memory and trauma to propose new ways of memory through interaction, community participation and visual intervention. The project intends to form a collective memory by creating a time machine through 11 scores of conceptual and visual experiences. The experience migrates through research and archives and ongoing modes of post-colonial experience across diverse cultures and spaces. The investigation meanders through the stories of people and addresses the issues of forbidden and forgotten histories by creating visual interventions and building memorials for the 22nd century. Each score responds to particular spaces, cultures and cities. Future Monuments involves exercises in decolonial memories and actions on cannibalism to reform our perception of what we call history by breaking anthropological selections and reconstructing untold histories left in the memories of the present. It presents different spaces for investigation in indigenous communities and urban spaces. This investigation towards decolonial cannibalism and aesthesis takes 5 stages:1. The Uncomfortable Truth (mourning) 2. Take This Hammer (commemorations) 3. Pieta (birth) 4. Les Statues Meurent Aussi (the gift monument) 5. The Brick Moon or an Ecology of Darkness (the future)