Laura Horelli
Changes in Direction
– a Journal

Digital book launch

Changes in Direction – a Journal provides multivocal and transnational African-European statements to current decoloniality debates from different perspectives. The Finnish-German artist Laura Horelli engages with the traumatic and complex histories of colonialism and international solidarity between East Germany, Finland and Namibia, staging micro-historical interventions in public spaces. Her films transform the archive into a space – and publication – of reflective engagement. The artist’s compilation of research, interviews and discussions in this bilingual German-English volume are enriched by contributions by the Namibian performance artist Nashilongweshipwe Mushaandja, the German curator-theorist Doreen Mende and the Finnish writer Olli Löytty. Initially an exhibition project and film screenings shown in Berlin, Freiburg i. Br., Malmö, Helsinki and Windhoek, Horelli and the curator Heidi Brunnschweiler put together a volume that celebrates and critically reflects on art as a process.


Following the screening of Laura Horelli’s works Namibia Today, Interviews, and Newstime which offered an insight into Horelli’s practice an online gathering was held to discuss the publication. At the online gathering curator Heidi Brunnschweiler introduced the project, while Laura Horelli spoke about the structure of the publication and referred to the works featured. Nashilongweshipwe Mushaanja discussed his text “’Making Love’: Solidarity in Decolonial Times” and Doreen Mende talked about her contribution “The Image-Complex of Modernity’s Grandchildren”.

Documentation of the event will soon be available on this page.

HEIDI BRUNNSCHWEILER is a Swiss curator, art scholar and art critic. She has conducted scholarly and curatorial activities in Switzerland and the UK. Since 2014 she has been the Head of Visual Arts and a curator of Galerie für Gegenwartskunst, E-WERK, Freiburg i. Br. She has curated numerous exhibitions, among others by Jorinde Voigt, Jananne Al-Ani, Theo Eshetu, Natasha A. Kelly, Sven Johne, Laura Horelli and Jaki Irvine. In her dissertation, she examined the significance of the photographic in the work of Christian Boltanski. As an editor she published among others Futures of the Past, Annette Amberg, Asier Mendizábal, Yelena Popova in Dialogue (2013) and Perpetually Transient, Anahita Razmi, Basim Magdy, Florian Graf, Bernd Behr (2015).

LAURA HORELLI is a visual artist and filmmaker interested in representations and mediations of the past taking a micro-historical approach. Her work has been shown at numerous exhibitions and festivals internationally. Her films and video installations include Newstime (2019); Namibia Today (2018); Jokinen (2016); A Letter to Mother (2013); The Terrace (2011); Haukka-pala (2009); You Go Where You’re Sent (2003); Helsinki Shipyard / Port San Juan (2003). Her previous publications are Laura Horelli: interviews, Diaries,Reports (2006) and Laura Horelli: n.b.k. Ausstellungen Band 12 (2012). Horelli was born in Helsinki, grew up partly in Nairobi and London and lives in Berlin since 2001.

DOREEN MENDE, a curator, researcher, and theorist, is currently professor of Curatorial/Politics and director of the CCC Research Master and PhD Forum at the Geneva University of Art and Design (HEAD). In 2015, she founded the Harun Farocki Institute in Berlin with Tom Holert and Volker Pantenburg. Her projects include Hamhŭngs Zwei Waisen (Für Konrad Püschel) (2018–2019) in the context of bauhaus imaginista in Moscow, Berlin, Bern and Istanbul; Navigation Beyond Vision (2019– 2020) with the Harun Farocki Institute and e-flux Journal at Haus der Kulturen der Welt, Berlin; The Undutiful Daughter’s Concept of Archival Metabolism (2018) for e-flux Journal. Her work has also been published, among others, by Sternberg Press and in the Oxford Handbook for Communist Visual Cultures (2020). Mende is the initiator of the research project Decolonizing Socialism, Entangled Internationalism, funded by the Swiss National Science Foundation (2019–2023). She lives in Berlin and works in Geneva.

NASHILONGWESHIPWE MUSHAANDJA is a performer, educator and writer with practice and research interests embodied in spatial archives and in movement formation. Mushaandja is also a PhD artist at the Centre for Theatre, Dance and Performance Studies at the University of Cape Town studying Queer Praxis in Oudano Archives. His recent performance Dance of the Rubber Tree is a cross-disciplinary critical queer intervention in museums, theatre and archives in Germany, Switzerland, South Africa, Cameroon and Namibia. He is also involved in curative projects on public learning and culture, such as the John Muafangejo Season (2016– 2017); Operation Odalate Naiteke (2018–2020) and Owela Festival (2019).

Past events

Jane Jin Kaisen
Community of Parting

Book release and online conversation
January 23rd, 2021

On the occasion of the release of the book Community of Parting, Archive hosted an online conversation conceived to unfold different trajectories emerging from the book. This conversation brought together Jane Jin Kaisen, curator Heidi Ballet, who contributed to the book, as well as curator Anne Kølbæk Iversen, co-editor of the publication.

A selection of films by Jane Jin Kaisen were made available in our screening-room until January 23rd. The films included: Community of Parting, Strange Meetings, and The Woman, The Orphan, and The Tiger authored with Guston Sondin-Kung.

About the book

Community of Parting is an extension and continuation of the artistic practice of Jane Jin Kaisen. Bringing past and present, the eternal and the temporal into play through layered, performative, and multi-voiced feminist works, Kaisen explores topics such as memory, war, migration, and borders in a field where individual experiences and collective stories intersect. Her works negotiate and mediate the means of representation, resistance, and reconciliation, thus forming alternative genealogies and sites of collective emergence.
The book is composed of several interwoven voices: oral testimonies with poetics by Kim Hyesoon, poetry by Mara Lee, and shamanic ritual chants by Koh Sunahn, accompanied by essay contributions by Heidi Ballet, Anselm Franke, Pujita Guha and Abhijan Toto for the Forest Curriculum, Anne Kølbæk Iversen, Jane Jin Kaisen, Hyunjin Kim, Soyi Kim, Yongwoo Lee, and conversations with Mary Kelly and Kim Seongnae.

Read more about the publication on Archive Books


Jane Jin Kaisen works with video installation, photography, performance, film, and text. Her practice is informed by extensive interdisciplinary research and engagement with diverse communities. She represented Korea at the 58th Venice Biennale and has shown her works at venues such as Kunsthal Charlottenborg, Arko Art Center, Haus der Kulturen der Welt, Palais de Tokyo, Museum of Contemporary Art Los Angeles, Times Art Center Berlin, Leeum, Samsung Museum of Art, Seoul Museum of Art, Kunsthal Aarhus, the Liverpool Biennial, and the Jeju Biennale.


Anne Kølbæk Iversen, PhD, is a researcher, curator, and writer based in Copenhagen. She obtained her PhD in 2019 from Aesthetics and Culture at Aarhus University as part of the research project The Contemporary Condition. 2019-20 she was affiliated with ARKEN Museum of Modern Art conducting the research project From a Grain of Dust to the Cosmos, studying works from ARKEN’s collection informed by discussions around the Anthropocene and notions of cosmos. Publications include “Visualising the Invisible, Imagining til (Im)possible,” in ARKEN Bulletin, vol. 8 (2020); “A Parting Ways While Being With. Critical Investigations and Acts of Assembling in Jane Jin Kaisen’s Practice,” in Jane Jin Kaisen. Community of Parting (2020) “Bodies and Rhythms,” with Sevie Tsampalla, in The Contemporary Research Intensive (2018).

Heidi Ballet is a curator based in Berlin with a research interest in the geopolitics of oceans and the psychology of climate chaos. She is currently preparing the 2021 Beaufort Triennial, a public art triennial along the Belgian coast. Exhibitions that she recently curated include the 2019 Tallinn Photomonth Biennial, the 2017 Lofoten Biennial (LIAF) and the exhibition series Our Ocean, Your Horizon at Jeu de Paume Paris and CAPC Bordeaux (2016). Between 2012 and 2015, Ballet worked as a research curator on After Year Zero, an exhibition project shown at Haus der Kulturen der Welt (2013) and the Warsaw Museum of Modern Art (2015).

Ongoing Projects in Berlin

Publishing Practices

From 2021 onward, Archive, in dialogue with other publishers, will set up a learning site for radical publishing. Based on the premise that the written word in its “published” form continues to exist within hegemonic systems of knowledge, we believe that publishing needs to be critically scrutinized with regard to its function to render visible, mediate, amplify, and disseminate — addressing such critique through the prism feminist and decolonial theories and practices. Archive is conducting a series of preparatory sessions in 2020 which bring together practitioners from different regions. These groups will contribute to a transdisciplinary and transnational exchange, posing the question of how and for which purpose national and disciplinary modes of interaction can be overcome through publishing. The acts of translation necessary for these debates will be integral subject matter of Publishing Practices.

Part of a series of preparatory sessions for the ongoing initiative Publishing Practices. Organized in concert with Atelier Picha, Lubumbashi.

A sessions in Accra in connection with CritLab organized by Foundation for Contemporary Art-Ghana. (tbc)

Part of the series of preparatory gatherings for Publishing Practices, this session connect with the project In search of archives and it’s organized in concert with Les Archives Bouanani, Rabat.

Last gathering for Publishing Practices in 2020, this session activates the feminist library run by Radio AWU and Archive in Dakar.  

Wild tongues

Wild tongues* is a recurring space for reflection and dialogue concerned with many kinds of borders – borders between nations, cultures, classes, genders, languages. This long-term research endeavor will stretch across various geographies and temporalities and will manifest itself in multiple forms. While addressing the complexities of the borderlands, of diasporic politics, physical and internal displacement, cultural dislocation and hybridity, production of Otherness, and the violence of border regimes – Wild tongues intend to establish a space to enact and rehearse forms of togetherness, radical care, and conviviality. The project draws from a genealogy of feminist writers, amongst them Gloría Anzaldúa whose work inspired the title, Cherríe Moraga, María Lugones, Chela Sandoval, Mariana Ortega, Emma Pérez. Wild Tongues will be launched in 2021.

* “How to Tame a Wild Tongue” in Gloria Anzaldùa, Borderlands/La Frontera: The New Mestiza, 1987.

From the archive

Gaddafi in Rome

Gaddafi in Rome


In June 2009 Muammar Gaddafi and Silvio Berlusconi met in Rome to celebrate the Italy-Libya Treaty on Friendship, Partnership and Cooperation and discuss the Bilateral Agreements on migration and fuel trade. As the event sparked several protests, it caused a media frenzy in Italy that brought to the fore the controversial relations between the two countries. Attempting to turn an archive of live news updates produced during the meeting into a script, this performative lecture strives to dissect the memory of this event and the way it was reported.

In Search of Archives

In Search of Archives


In Search of Archives inquires into contemporary notions and practices of the archive in postcolonial constellations. While the state of archives in former colonial settings is continuously marked by limited access, dispersed documents and repressed histories, contemporary art and research have been opening various ways of appropriating, (re)collecting and rendering visible the diverse traces and memories, creating new meanings of the past for the present and the future.

AntiColonial Records

AntiColonial Records


A three-day programme including working groups, film screenings, presentations and discussions revolving around the question of social justice born out of the postcolonial situation. The encounter is set up to facilitate collaborative explorations of the potential of the creative work to disrupt ingrained ideas and representations through affecting the senses and imagination.

Discreet Violence

Discreet Violence


Based on private and institutional archives, including the French Service cinématographique des armées, Discreet Violence: French Camps in Colonized Algeria features certain aspects of the massive forced resettlement of civilians during the Algerian Revolution (1954–1962), and disclosures the ways with which the French colonial regime attempted to divert the military purpose of the camps in the aftermath of a medial scandal of 1959.