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• THESE TEEMING FORMS

  BY JOSEPH MORGAN SCHOFIELD

  ‘these teeming forms’ was shot on England’s South Pennine Moorland in a breath between lockdowns in 2021. These windswept hills formed Joseph’s adolescent horizon and they have returned there in adulthood, walking out into the land holding grief, seeking connection. The film has a sensate and mythic quality; performance actions to camera are collaged with cyanotype printing processes of analogue photography, speculative texts and an original score. The wet, wily moorland contains large peat deposits, produced over thousands of years as normative processes of decomposition are frustrated by the great quantity of water that falls on the hills. The peat is a collage of animal and plant matter, minerals and weather. Like the body, the land is an archive. The film is framed by an interview with the artist’s father, who speaks of his own remembrance of a haunting adolescent encounter many decades previously. Queer ecologes are imagined here as a process of wilding, of entering the land and being opened by it. Memory and desire, history and loss, future and fantasy become porous, contributing to a textural and sensate meditation on living. these teeming forms was commissioned by ]performance s p a c e[ and supported using public funds by Arts Council England.
• METAMORS

  BY FRANCESCA FINI

  Metamors is a colorful vortex that transports the observer to a dreamlike dance between the veil of being and the abyss of becoming. Each mask is an echo, a shard of stars and stories woven into the threads of the female soul's polyhedral mosaic. The artist, the Sibyl of a Thousand Faces, wears masks that speak the names of deities, warriors, witches, and dreamers in this hallucinogenic garden of fluid lights and shifting shadows. But be cautious! The masks are dishonest artificers who play with our perception of reality. They are gateways into digital realms, worlds of pixels and code, places where being a woman is a kaleidoscope of unlimited possibilities.
• 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)