Subhas [Instagram] is a unique voice in Singapore, whose music and organising confronts issues such as capital punishment, the treatment of migrants workers, climate capitalism and racism while advocating for class solidarity. His activities have provoked the ire of authorities and our conversation took place as he awaits the outcome of a court case in which the State accused him of “promoting ill will between races and religions.” Subhas’ upcoming album is scheduled to drop when the verdict is announced.
If you like what you hear, sign up to receive details about Subhas’ upcoming album The State Vs Subhas Nair. You can also support Subhas via Patreon.
Music used in the episode is on the major platforms Spotify and Apple, in chronological order:
Malabar (2021)
Riot! / Dumbshit! (2018)
PUNISHMENT (2018)
Bhasa (2021)
Long2befree (2021)
The Line (2020)
UTOPIA (feat. Migrants Band Singapore) (2021)
Blk101sunsetway (2018)
DMT (2021)
Time Of My Life (2021)
Some Nights (2021)
“Good Morning Geylang”, a deep listening dawn mix and a meditation on migration, labour, infrastructure and place-making in Singapore. Made in residence at Singapore Art Museum, 1 April–29 June 2024.
The field recordings that make up this mix were recorded in the streets, rooftops and void decks around the neighbourhood where I am staying in Geylang. Singapore is undoubtably an air-conditioned nation however I’m not a fan of such climate controls. I prefer to keep the windows open and as my apartment is on the 4th floor of an old shophouse, I am at tree height. I’m often stirred before dawn by the sounds of birds chattering. Soon after I hear the first MRT commuter train rumbling off in the distance and as the city starts to wake it is often the sound of a garbage truck and its distinct pungent scent that brings me to my senses. I’m in an area where many migrant workers also stay and in the mornings I can watch them gathering in the street below, waiting to be taken in trucks to work sites around the city. I’ve been struck by the interplay of daily rhythms at this time of day. With reference to Henri Lefebvre’s notion of rhythmanalysis, I can discern the circardian rhythms as night turns into day, the institutional rhythms of the train schedule and the rhythms of the working day. Singapore imports much of its construction and domestic workers from neighbouring countries including Bangladesh, Thailand, Sri Lanka and Indonesia. Their wages are lower than locals and they have few rights. There has been some discussion about constructions workers who are transported around in lorries with minimal safety, an exception to Singapore’s road rules, and there have been several serious accidents.
“Good Morning Geylang” is the first iteration of a live sound work I am developing. Comprised of field recordings I’m making in Singapore as a reflection on migrant labour/leisure. I’m thinking of it as a deep listening work to be performed in pitch black — picking up on a recent discussion of sensory deprivation following the debut of REFUGE at Singapore International Festival of Arts, by the Observatory in collaboration with Duck Unit, Rully Shabara and Justin Shoulder.
1. “Anti War Dub” – Digital Mystikz
On 26 January 2024, the International Court of Justice (ICJ) found [YouTube] there was a case for potential genocide being carried out by Israel in Gaza. The court stopped short of recommending a provisional cease fire and rather required Israel report back in one month about measures taken to address its concerns (legally binding for member states). My friend, the artist Sybille Neumeyer, responding to the ongoing loss of (civilian) lives commented that there is no longer a neutral position. Indeed, I’ve heard arguments in Berlin that calling for a cease fire opposes Israel’s right to self-defence and is thus antisemitic—an accusation that can lead to serious repercussions in Germany. This episode is a playlist/meditation on how peace activism has become weaponized, reflecting on my experiences at Transmediale and CTM festivals this year.
2. “Afrotek” – Scratcha DVA
The context of this episode is the Strike Germany campaign, that began in January 2024 when the Berlin Senate announced that it would adopt an anti-discrimination act as a condition of its cultural funding, which included a controversial working definition of antisemitism proposed by the International Holocaust Remembrance Alliance (IHRA). It reads:
Antisemitism is a certain perception of Jews, which may be expressed as hatred toward Jews. Rhetorical and physical manifestations of antisemitism are directed toward Jewish or non-Jewish individuals and/or their property, toward Jewish community institutions and religious facilities.
To which the Berlin Senate added an extension which conflates criticism of Israel with the persecution of Jewish people. This decision was protested by a significant part of the cultural community in Berlin (see this letter signed by numerous Berlin-based artists and cultural workers). Strike Germany deploys similar tactics of Boycott, Divestment and Sanction (BDS), understood as a means of peaceful protest used with success against apartheid South Africa. The BDS movement against Israel has been banned in several countries and in 2019 the German Bundestag passed a resolution to outlaw it in Germany. This decision is subject to ongoing dispute (see this letter from artists, academics and cultural workers protesting this resolution). The Strike Germany campaign can also be read as a retaliation for the forced resignations of artists and cultural workers in Berlin who have been critical of Israel, notably from South Asia (eg the resignation of Documenta 16’s finding committee in November 2023 and the cancellation of Biennale für aktuelle Fotografie 2024 soon after). Strike Germany has had a significant impact on the cultural sector, initially in Berlin’s club scene/economy, with artists withdrawing from performances at its famous Berghain club.
The “sister” festivals, Transmediale and CTM, held annually in late January and early February were also affected this year. London-based producer Scratcha DVA is one artist who announced his withdrawal via Instagram, and whom I was looking forward to seeing in Berlin. This track “Afrotek” (2021) with Durban producer Mxshi Mo brings together UK bass and gqom [YouTube].
3. “ANG INTERNASYUNAL BUDOTS BOMB STYLE REMIX [SISONS GREETINGS!]” – Teya Logos
CTM opened on 26 January, the day the IJC announced its findings, so it seems significant that the festival’s first club night at the aforementioned Berghain featured a room curated by Thai artist Pisitakun, a recent fellow at the DAAD’s Music & Sound programme. Pisitakun’s research concerns the music of social movements for democracy in South East Asia and during his time at the DAAD he launched The Three Sound of Revolution project, named after the “three finger salute.” With reference to the popular TV series Hunger Games and derived from a signal used in the French Revolution, the gesture has been recently adopted by protestors in South East Asia to demand Solidarity, Equality and Liberty. The Three Sound of Revolution is divided into three sub-projects, “Middle Sound”, a compilation of protest songs, chants and speeches remixed as dance/party music by a selection of artists was released in November 2023. This was showcased during Pisitakun’s take over of Berghain’s Säule, with the artist inviting others representing South East Asia to perform and also installing a screen printing station to distribute talismanic revolutionary imagery.
Given the situation of strike and withdrawals coupled with protests against the rise of populist Right wing movements in Germany and elsewhere in Europe, Pisitakun’s programming struck a chord. While CTM joined wide-spread criticism of the Berlin Senate’s anti-discrimination bill, it refrained from directly commenting on the war in Gaza and many of us were interested in—and perhaps anxious about—how participating artists would respond.
Someone who clearly did not give a fuck was Filipinx artist Teya Logos playing “hardcore” Budots dance music, while screaming and slam dancing. She closed out her performance with a remix of the anthemic “Dammi Falastini” by Palestinian singer Mohammed Assaf [YouTube].
4. “MONn-aARCHhE-EAT-JACKAAAL” (Elvin Brandhi Remix) – Pisitakun
“Since I was born I witnessed three different coups: in 1991, 2006 and 2014,” says Thai artist Pisitakun. “The question is stuck in my mind: Why do we have so many coups?
This track, remixed by Elvin Brandhi, another artist featured in CTM, is from Pisitakun’s album Absolute C.O.U.P. (2020) [bandcamp]
5. “Prayers” – Pinky Htut Aung
This recording is taken from the compilation Common Tonalities (2022) produced as part of Goethe-Institut’s Nusasonic project focused on experimental sound cultures in South East Asia, made in collaboration with CTM alongside Yes No Klub (Yogyakarta), WSK Festival of the Recently Possible (Manila), Playfreely/BlackKaji (Singapore). From Myanmar and currently based in Paris, Pinky is a multimedia artist and noise musician. She spoke on CTM’s panel “Revolutionary Music Movements under Distorted Rule of Law” (31 January 2024), where I asked about the connection between the kinds of popular protest songs that was discussed in the panel and the noise and “hardcore rave” dance music that was showcased at Berghain. While such sounds are often overlooked by music scholars and professionals, I was interested in how they had become popular in times of social upheaval. Noise music is distinct from commercial pop music and elite classical or compositional forms. It could be understood as being a liberatory or cathartic practice, and is often made collectively, but is it necessarily political? Or does it signify a politics that is different to conventional party systems, like anarchism? I was struck when Pinky said that for her noise music is therapeutic. To pick up on CTM festival’s theme “Sustain” for its 25th edition, could it be said that music sustains people through difficult times?
6. “Indignation” – Divide and DissolveDivide and Dissolve [bandcamp] are well known for their commitment to Black and Indigenous struggles as much as for their slow, loud and lurching music, devoid of vocals. I said to a friend who is keen to play heavy music with other racialised people, that she might not be familiar with Divide and Dissolve’s music, but she would certainly know their tee-shirt emblazoned with the words: “Destroy White Supremacy.” A classic, is how someone described it at the band’s merch stand and Divide and Dissolve have since produced a series of tees with statements that are, according to the band, “designed to provoke a conversation.”
Emerging from Naarm/Melbourne’s punk scene, where I first saw them play in 2017 alongside anticolonial death metal band Dispossessed [bandcamp]. Divide and Dissolve have gone on to achieve notable success, releasing their last two albums with Geoff Barrow’s (Portishead) label, Invada. So I was curious as to why they had not heeded the call to divest from Germany.
With my mind still occupied with Pisitakun and Pinky’s panel about protest music and noise earlier that evening, Divide and Dissolve set the scene at Berghain with a large back-projection of a animated Palestinian flag, rippling in the wind behind a wall of amplifiers. Guitarist and saxophonist, Takiaya Reed arrived on stage wearing a black and white keffiyeh across her shoulders and the duo’s drum kit was similarly draped with the checkered cloth that symbolises Palestinian liberation. After Sylvie Nehill left the band in 2022, Reed has continued with a roster of drummers and tonight she was joined by someone she named “Ced”, “Syd” or “Seb” oder…? Having established that their performance at CTM was a statement of solidarity, Reed breathed into her soprano saxophone to begin the first song only to realise that it was broken. She asked that if anyone in the audience could help, she would appreciate them coming back stage. For some long minutes we stood around, before the super-sized animated flag chatting to our neighbours and sipping our drinks as pop music played over the club’s legendary sound system. This was turning out to be an awkward performance.
Arguably, Divide and Dissolve decided to stay with the festival as their appearance would be more effective than their withdrawal. Indeed, artists critical of Strike Germany have argued that withdrawal is a privilege for only those who can afford to do so and often targets organisations working “behind the scenes” towards justice and peace. However, Divide and Dissolve also disrupted the smooth functionings of the event. Aside from delays due to her broken instrument, Reed took her time between songs to explain her position as someone with Black and Cherokee ancestry. She talked about cycles of violence, as those who have suffered genocide in turn perpetuate genocide, and elaborated on how some First Nations people in the US having survived colonial violence became slave owners. While Divide and Dissolve have cultivated a loyal and attentive following around the world, Reed’s ruminations were not well received by all at Berghain. I didn’t think it unusual when someone called out that she should stop talking and “play more music”, and certainly the audience was thinning out. Undeterred, Reed continued to address her heckler in a calm voice, without aggression, but nevertheless confrontational. With Reed holding the space and taking her time to discuss the issues that motivate the band and to name and thank all who had supported her, I began to think that Reed wields her vulnerability as a kind of power. Indeed, if Divide and Dissolve’s bone-rattling sound is as much therapeutic to experience as it is cathartic to perform, it is arguably during these times of violence and anxiety that it is most needed.
7. “Holy Motor” – FITNESSS feat. LUnG
FITNESSS’ striking intervention was into Berghain’s dance floor. Appearing among the crowd with a panel of backlit buttons strapped to their chest, FITNESSS’ provocateur (is it Jas Lin 林思穎?) encouraged the audience to push them and trigger sounds then heard on the main room’s massive surround sound system. FITNESSS are corporeal; physically confrontational and I suppose cathartic in a screamo kind of way. It feels more like a happening than a concert, as the crowd follows the action around the room. We are often pulled into to touch, mosh to crisp digital noise and so-called “sound design” or to pogo to pop music. I’m not sure if FITNESSS is the person I am watching being dragged around the room on their back, or the event in which the boundaries between performer and audience and the social conventions of the club are (physically) challenged. Towards the end of the performance, a shirtless vocalist lurches into the maelstrom of bodies, rasping into a microphone. I guess this is LUnG. Later online I read:
A FITNESSS performance is an expression of raw energy—creating immersive experiences that challenge conceptions of being and communion through movement, electronic sound architecture, and post-modern aesthetics. With an emphasis on audience involvement and collective presence, FITNESSS’ work explores the volatile nature of interpersonal dynamics, as well as the transformative power of crowd synchronization.
8. “Dimensional Spleen” – Aïsha Devi
I have been looking forward to see Aïsha Devi perform for some years. Although she does perform often enough in Berlin, I always seem to miss it. Now, touring her recent album Death Is Home (2023) [bandcamp], I find myself sitting exactly front and centre in the Volksbühne theatre where Devi will perform the closing concert. The stage’s scenography consisted of patchwork drapes and flags, set in motion by fans. Strobe lights and fog machines further contributed to Devi’s theatrics, and I heard someone commenting about “the weather on stage.” Dressed in a sheer black dress and shiny black trainers, Devi was often rendered as a silhouette and it soon became apparent that she had a Palestinian flag affixed to the back of her outfit (see main pic above). I can’t be certain about Devi’s use of flags. Given the artist draws inspiration from her paternal ancestry in Nepal, I’m guessing they are a reference to the Buddhist traditions of the Himalayas; when the wind blows through “prayer flags” bearing sutras they are believed to recite them. Devi often discusses the links between her mediation practice and music production by way of the healing qualities of frequencies. In a recent interview for Metal she offers:
Modern physics acknowledges 11 dimensions, and we perceive life in just 3D. To heal this civilization, I think we will have to be much more aware of our existence outside of this corporeal reality and in a higher dimensional plane. I really think that hyper-materialism is annihilating our sense of immortality, and that’s why the intangibility of music is so present in our life. Music is one of the tools that can help us initiate this consciousness and open the portals. I want to bring back the essential ritualistic aspect in contemporary music.
I admire Devi’s open-mindedness and willingness to speak her mind as much as I enjoy her music. When she addressed the audience at the closing of the concert she voiced her support for Palestine and said: “I came here because this is my community—you are my community.” Despite several withdrawals (and at least one forced cancellation at Transmediale), I often heard people reiterate this sense of community with phrases like: “this is my community and so in these days of war, genocidal violence and the threat of fascism it is important that we come together and talk.”
Certainly, there are those of CTM’s community who were missed. Kyham Allami, for example, who was instrumental to Nusasonics’ Common Tonalities project, announced his individual and indefinite strike from all German state funded work in October 2023, some months before the Strike Germany campaign.
This prompts me to think about the politics of friendship during this time of polarization. TBC…
My friend, the artist and broadcaster Nathan Gray [Instagram], describes the current war in Gaza as the “New Berlin Wall”, as it has polarised a city that is home to significant migrant communities from both Palestine and Israel. In a country held accountable for the Jewish Holocaust and which considers Israel’s security and right to exist its “Staaträson”, anti-Semitic, anti-Muslim and anti-Arab sentiment have surfaced since Hamas’ 7 October attack in southern Israel. From a distance in Finland, I began to approach these developments via anti-racism frameworks; being attentive to (historical) forms of biological race and ethno-nationalism, alongside more recent concepts of ethnocracy—a term coined by Oren Yiftachel, a Professor of Political Geography, to describe circumstances in which democratic processes are unequally distributed among citizens, biased towards ethnic groups in power.
Cultural theorist Paul Gilroy opens his book, Against Race (2000)—re-published as Between Camps (2004)—with a citation from Frantz Fanon:
At first thought it may seem strange that the anti-Semite’s outlook should be related to that of the Negrophobe. It was my philosophy professor, a native of the Antilles, who recalled the fact to me one day: “Whenever you hear someone abuse the Jews, pay attention, because he is talking about you.” And I found that he was universally right—by which I meant that I was answerable in my body and my heart for what was done to my brother. Later I realized that he meant, quite simply, that an anti-Semite is inevitably anti-Negro.
Fanon (Black Skin, White Masks) cited in Gilroy 2000, p. 1.
Writing at the turn of the last century, Gilroy argues that the ambition of anti-racism work should be to dismantle race as a category of difference, and he urges his readers to be wary of emergent forms of racism arising from technological developments, such as genetics.
Like many others, doomscrolling through a feed of “atrocity images” and trauma over the past two months, my interest was piqued last week with the publication of an investigation “‘A mass assassination factory‘: Inside Israel’s calculated bombing of Gaza” by +972 Magazine and Local Call , an independent, bipartisan and non-profit platform established by Israeli and Palestinian journalists. Authored by Yuval Abraham [Instagram], the article outlines Israel Defense Forces (IDF) use of machine learning and AI in determining military targets, in particular a system named Hasbora (The Gospel). There has already been much discussion about the inherent bias in such systems and criticism about their use in policing, so Hasbora’s deployment in a situation where vengeance is a motive is alarming. It should be noted, as Abraham states at the beginning of this interview with Amy Goodman on Democracy Now!, that this report was vetted by the Israeli military censor. That is, the IDF has some interest in publicising this information. A recent article in the New York Times reveals how Israel’s security intelligence failed to act on early indicators of Hamas planning an attack on 7 October, thus Abraham proposes that the Netanyahu government is under pressure to produce a “victory image” for its citizens, and arguably one that foregrounds its technological prowess.
Investigative journalist Antony Loewenstein, whose recent book The Palestine Laboratory (2023) is concerned with how Israel develops and tests its sophisticated military and surveillance technologies in Gaza, is often called upon to comment on these issues. Contained within a security wall, Egypt’s national border and the Mediterranean Sea, Gaza is often described as an “open-air prison”. With over 2 million people in area that is approximately 365 square km, it is one the most densely populated regions in the world. As noted by scholars Eyal Weizman (2007) and Jasbir K. Puar (2017), Gaza is tightly controlled; dependent on aid, supplies and (communication) infrastructures that are ultimately managed by Israel, calculated according to what is necessary for survival. Thus, it can be easily analysed as a bio/necro-political regime. Following the end of the cease-fire on 30 November and as the staggering civilian death toll continues to climb, the US and other allied states, including the UK, Germany, the Netherlands and Australia, are qualifying their statements of unequivocal support for the war Israel names “Operation Iron Swords”, cautioning the Zionist state to minimise civilian casualties while continuing to sanction its efforts to completely destroy Hamas. In an interview with Amy Goodman and Juan González on Democracy Now!, Loewenstein points out that these states are continuing to export arms to Israel, and that some of them have significantly expanded these exports since 7 October. Alongside arms proliferation and shared intelligence, these states are also implicated in global supply chains that produce these weapons technologies. As such, the images (and information) currently flowing out of Gaza are effectively, as Al Jazeera presenter Jonah Hull puts it, a “live-fire, real-time experiment” demonstrating these technologies and their concomitant political strategies.
This podcast, “The Image of Gaza”, returns to the theme of “optics”. It is a montage/mixtape of news media, music, infomercials and street recordings that serve as a prompt to think about the images flowing out of the war and how they are being received and interpreted by different interests. These include:
– affective “atrocity images” of an exceptional humanitarian crisis at scale and evidence of possible war crimes
– a “victory image” that Israel’s Netanyahu government is under pressure produce following security intelligence failures to act on early indications of Hamas’ 7 October attack
– a “live-fire, real-time experiment” demonstrating Israel’s military technologies and that attest to a global weapons market and production supply chains that implicate the US, UK, Germany, the Netherlands and Australia in the war.
We began by recalling Matti’s visit to Sydney, Australia in 2000 as a representative of the Finnish Youth Parliament and then went on to range over issues that overlap art and politics, such as: settler colonialism in Finland and the Nordic States—notably so-called “Green Colonialism”—alongside the appropriation and weaponisation of Sámi culture by the tourism industry. We also discuss our mutual interests in music; the horrorcore rap of Inari language activist Amoc and the intricacies of Sámi joiking. Given we both DJ, Matti also shed some light on the underground techno scenes in the North.
Many thanks to Lena, Petra and Ville-Veikko from Goethe-Institut Finnland for organising the event. Also props to Timo Tuhkanen, Eddie Choo Wen Yi, Constantinos Miltiadis, Irina Mutt, Mathilde Palenius and Essi for their generous contributions to our conversation, and to Goethe-Institut Finnland and Jakub Bobrowski for the fotos [all links on Instagram]!
This episode features and interview with Athens-based choreographer Jitsa Kon [Instagram] recorded in March with Anastasia Diavasti, artist and founder of the feminist platform NTIZEZA [Instagram]. We discuss the durational dance-research practice Κρατήρας (Crater), initiated by choreographers Vitoria Kotsalou [Facebook] and Michael Kliën. I first encountered Κρατήρας in front of the Olympia Municipal Music Theatre Maria Callas which was then being occupied by students [Instagram] protesting policy changes that devalued their education and thus professional standing and opportunities. Interspersed throughout the podcast are recordings made during the march marking International Womens Day, 8 March in Athens and a performance by “Chrishanti and friend” recorded outside Rex Theatre, also in central Athens, and that was also being occupied [Instagram].
This month’s episode “Risky Business” is a conversation with curator, writer and researcher Mariam Elnozahy, recorded during a live broadcast at the Jan van Eyck Academie’s Open Studios, 24 June 2023. Our discussion takes its cues from a statement issued from Jan van Eyck participants concerned with the unclear expectations and “unacceptable conditions of labour” that shaped this much anticipated three day public event. It circulates around issues of artistic production, professional practice and the commodification of identities with reference to exhibition making. Furthermore, this podcast demonstrates how a practice of fugitive radio can offer a counter-platform to circumvent the well established trope of institutional critique in contemporary art.
The podcast begins with the voice of Rose Nordin from an earlier podcast, “NightShift: ‘Creative Labour’” that connects issues of work, artistic practice, sociability and the other intangible processes that contribute to professionalised arts. Interspersed in the podcasts are segments of electromagnetic noise made with Kim David Bots and computer riddims available on fugitive productions [bandcamp].
image: “fugitive radio: outside inside open studios, with Mariam Elnozahy. Live broadcast from the Jan van Eyck Academie vegetable garden, 24 June 2023.” foto: Tessa Zettel.
rádio contra o trabalho do Instituto Procomum transmitir ao vivo quinta-feira 21.10, entre 18-20horas!
rádio contra o trabalho convenes a working group at Instituto Procomum, Santos, São Paulo. Over three consecutive evenings we will collectively explore streaming audio/radio using free, open source or otherwise accessible tools.
I very much appreciate Gustavo, Fabio, Igor, Almir, Fernando and Danielo joining on a chilly rainy evening alongside Calu, our remarkable interpreter.
I first came to Procomum almost exactly four years ago, where I initiated ‘almoço contra o trabalho’ as part of the organisations LabXSantos artist residency program, November 2018. Notably this was right after the presidential election. Here, I was luck enough to meet and collaborate with the very talented Diego Andrade [Instagram] and Victor Sousa [Instagram]. Diego is currently off the radar, nevertheless it was great to reconnect with Victor.
As expected, there have been some technical hiccups. Initially, my laptop went down and refused to reboot. After an anxious afternoon trouble shooting online and visiting a Mac repair agent in Santos, it seems that the problem was with the power source at Procomum. Then as Victor and I attempted to set up a podcast studio computer we were unable to connect to the internet due to a modem problem. ‘This is how it is in the third world’ quipped Victor, shrugging it off. As a work around I sought out free and accessible audio streaming tools that could work on Android devices. As expected, I stumbled on incompatibility issues between apps and platforms. Certainly, this is an issue that fugitive radio emphasises with its interest in radio as a social practice with experimental technology. Nevertheless it remains frustrating! While Gustavo located another modem to bring our computer online, the group decided to investigate Twitch as a popular and accessible streaming tool that could be used during the upcoming Virada Cultural weekend of events in Santos, 22–23 Outubro.
I was taken by the term gambiarra that Danielo used to describe his practice, which I understand as a kind of hacking, adhoc and improvised approach to getting things done and reminds me of what Suva Das described to me asjugaad technology in India. According to artist Giuliano Obici in Gambioluthiery: Hacking and DIY in Brazil [PDF], gambiarra has a distinctly Brazilian twist, related to notions of antropofago and carnevale; reversing “the order of artifacts, serving as a carnivalization of technique, technology and design.” Obici is concerned with musical instruments and sound art practices, proposing that his: “Gambioluthiery reinforces connections between sound and its materiality as well as the paradoxical gaps between advantage and limitations that techno-consumption produces globally.”
lumbung in the “air” (a pun on the Bahasa Indonesia word for water) is an anachronistic mix-tape of musical moments recorded during the opening days of documenta fifteen in Kassel Germany, 15 –20 June 2022.
Curated by the Jakarta-based collective ruangrupa, documenta fifteen is concerned with lumbung, the Indonesian word for a communal rice-barn where surplus rice is stored for the benefit of the community. Lumbung was adopted as a practice by the documenta organisers pursuing alternative economies of collectivity, shared resource building and equitable distribution. fugitive radio has become part of the lumbung ekosistem through the lumbung radio / station of commons platform.
This episode is an audio portrait of Alanis Obomsawin, an Indigenous Abenaki filmmaker, singer, activist and “national treasure” from Turtle Island/Canada. We spoke online late in February 2021 with reference to a major survey exhibition of Alanis’ life and work, ‘The Children Have to Hear Another Story’, 12 February – 18 April 2021, Haus der Kulturen der Welt Berlin.
Many thanks to Lilli Heinemann from HKW and Michael Shu from the National Film Board of Canada for making this episode possible.
Media
Bush Lady (2018)
Vignettes: June in Povungnituk – Quebec Arctic (1980)
