Republik Repair | Hydra Plantation Radio
A Right To Mourn A Right To Monument
Ballhaus Naunynstrasse, Berlin
curator: Karina Griffith
photo: Wagner Carvalho, Tatiana Llichencko, Anguezomo Mba Bikoro 2017
curator: Karina Griffith
photo: Wagner Carvalho, Tatiana Llichencko, Anguezomo Mba Bikoro 2017
If much of our histories were chosen and deliberately erased for western political purposes and oppressive systems, how does our contemporary experience affect our positions for demanding repair from colonial systems? What do we demand for our memories, our bodies and our trajectories to be restored? Our demand could be for a moving monument created by the communities that survived and create visibility to acknowledge those lost.
Republik Repair is an event where our public demands for historical repatriation from the German colonial history can be given attention. One of these major points proposed is how we use our ‚technologies’ to accord to historical repair. For many cultures, technology is a plural dimension of science and medecine transmitted as a ritual vision, often politicised and used for the survival and position of peoples’ heritage. Technologies are archives of our existence and mapping spaces for our memories to travel.
Based on the stories „True Histories“ of Middle Eastern philosopher Lucian de Samosata, The Right To Mourn project is a process to commemorate resistance and anti-colonial movements between Germany and Africa. The demand accentuating on the point of technological transfer as a transmission of sound as decolonial archive and to de-masculinise historical record systems makes a performative gesture towards a monument to those that were erased. The monument becomes a re-consideration on the constructs of memory and iconography and dismantles western thought of knowledge and appropriation by using fiction and mythology to activate a mode of repair. This repair is done through the ritual, through collaboration and technology as medecine and transmission of imagination through demanding the possibility of writing and editing histories. Therefore the technological transfer is the ritual of excorcising trauma and making those who once belonged to non-histories visible. These contributions of sounds & testimonies are collected in an online podcast capsule and sent to the surface of the Moon through a former sattelite (designed in 1932 in East Africa) by anti-colonial movements used in the 1970’s as a way to smuggle messages for which Germany’s involvement during DDR in the times of African indepencence & solidarity was a major player yet its signification remains largely undiscussed.
In the exhibition, the mobile garden plantations provide this very space of commemoration, growth and healing. It is based on matriarchal lineage and considers the plants’ emitted vibrations as a testimonial voice to not forget the histories that created our existence. The plants are speaking and deliberately make visible notably the role of women during resistance movements in Berlin through the technologies of music and film industries surviving two World Wars.
The sound frequencies of the contributions from audiences will enable to grow seeds and plants in the mobile gardens within the proposed space of Repair. The mobile gardens will be housed outside and follow the orbit of the Moon’s trajectory whilst the plants’ vibrations are emmitted into soundtracks as decolonial archives. The plants are survivors of a post cross-pollination history based on the exportation of African plants for botanical and German film purposes. They tell other stories on coloniality and migration.
In this chapter, audiences are invited to record their own contributions through sound testimonies, fauna and paper as a performative gesture to share their demands to the right of a monument. Records are archived into a podcast that can be made available as an open source.
The invited communities become active producers of an encyclopaedia of knowledge, therefore they are monuments to our ancestry. The sound podcast and frequency waves will be broadcast to the Moon, therefore our demand through technological transfer is a monument of our voices, & testimonies to create orbital maps & movements through the universe.
The Right To Mourn project is a process to commemorate anti-colonial movements between Germany and Africa. The demand for repair accentuates on the point of technological transfer as a transmission of sound as decolonial archive by creating a performative gesture towards a monument to those that were erased. By considering the historical traces of Germany’s involvement in the colonial systems through botanical sciences & cultural industries, the monument becomes a re-consideration on the constructs of memory by using mythology to activate a mode of repair. In the exhibition, the mobile garden plantations & tower sattelite provide this very space of commemoration, growth and healing. Audiences are invited to record their own contributions through sound testimonies to share their demands to the right of a monument.
Republik Repair is an event where our public demands for historical repatriation from the German colonial history can be given attention. One of these major points proposed is how we use our ‚technologies’ to accord to historical repair. For many cultures, technology is a plural dimension of science and medecine transmitted as a ritual vision, often politicised and used for the survival and position of peoples’ heritage. Technologies are archives of our existence and mapping spaces for our memories to travel.
Based on the stories „True Histories“ of Middle Eastern philosopher Lucian de Samosata, The Right To Mourn project is a process to commemorate resistance and anti-colonial movements between Germany and Africa. The demand accentuating on the point of technological transfer as a transmission of sound as decolonial archive and to de-masculinise historical record systems makes a performative gesture towards a monument to those that were erased. The monument becomes a re-consideration on the constructs of memory and iconography and dismantles western thought of knowledge and appropriation by using fiction and mythology to activate a mode of repair. This repair is done through the ritual, through collaboration and technology as medecine and transmission of imagination through demanding the possibility of writing and editing histories. Therefore the technological transfer is the ritual of excorcising trauma and making those who once belonged to non-histories visible. These contributions of sounds & testimonies are collected in an online podcast capsule and sent to the surface of the Moon through a former sattelite (designed in 1932 in East Africa) by anti-colonial movements used in the 1970’s as a way to smuggle messages for which Germany’s involvement during DDR in the times of African indepencence & solidarity was a major player yet its signification remains largely undiscussed.
In the exhibition, the mobile garden plantations provide this very space of commemoration, growth and healing. It is based on matriarchal lineage and considers the plants’ emitted vibrations as a testimonial voice to not forget the histories that created our existence. The plants are speaking and deliberately make visible notably the role of women during resistance movements in Berlin through the technologies of music and film industries surviving two World Wars.
The sound frequencies of the contributions from audiences will enable to grow seeds and plants in the mobile gardens within the proposed space of Repair. The mobile gardens will be housed outside and follow the orbit of the Moon’s trajectory whilst the plants’ vibrations are emmitted into soundtracks as decolonial archives. The plants are survivors of a post cross-pollination history based on the exportation of African plants for botanical and German film purposes. They tell other stories on coloniality and migration.
In this chapter, audiences are invited to record their own contributions through sound testimonies, fauna and paper as a performative gesture to share their demands to the right of a monument. Records are archived into a podcast that can be made available as an open source.
The invited communities become active producers of an encyclopaedia of knowledge, therefore they are monuments to our ancestry. The sound podcast and frequency waves will be broadcast to the Moon, therefore our demand through technological transfer is a monument of our voices, & testimonies to create orbital maps & movements through the universe.
The Right To Mourn project is a process to commemorate anti-colonial movements between Germany and Africa. The demand for repair accentuates on the point of technological transfer as a transmission of sound as decolonial archive by creating a performative gesture towards a monument to those that were erased. By considering the historical traces of Germany’s involvement in the colonial systems through botanical sciences & cultural industries, the monument becomes a re-consideration on the constructs of memory by using mythology to activate a mode of repair. In the exhibition, the mobile garden plantations & tower sattelite provide this very space of commemoration, growth and healing. Audiences are invited to record their own contributions through sound testimonies to share their demands to the right of a monument.