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Bodies of Occupation: Conversation with the art collective Fraud

This conversation with Fraud will explore their work Carbon Derivatives, an art-led enquiry into forest and foreshores as salvage sites for carbon incorporating questions such as salvage accumulation, waste management, indentured labour and slavery. Participants Ariadne Collins is a Lecturer at the School of International Relations at the University of St Andrews. Her work lies at the intersection of climate change governance, environmental policy and international development. More specifically, she analyses the interplay between market-based conservation and postcolonial development. Her work features an emphasis on processes of racialisation and histories of colonialism, and their challenge to the successful enactment of forest governance policies in the Global South. Ariadne was awarded a PhD (Summa cum laude) from Central European University in Budapest, Hungary, in May 2017. She holds a Masters in Research (Distinction) from the University of Westminster and a Bachelors from the University of Guyana. Prior to joining the University of St. Andrews, she was a Postdoctoral Research Fellow at the Institute for Cultural Inquiry in Berlin. She was also a visiting researcher at the Centre for Space, Place and Society at Wageningen University, the Netherlands. She has given talks on colonialism, environmental histories, raw material and climate change at exhibition spaces in Berlin and the United Kingdom (publications). FRAUD is made up of the duo Audrey Samson and Francisco Gallardo. Critical spatial practitioners, they develop modes of art-led enquiry, which examine the processes of financialisation through extractive practices, and cultivate critical cosmogony building. They are currently exploring the extractivist gaze of the Critical Raw Materials Initiative with their project EURO—VISION. Audrey (b. Canada) leads the Digital Arts Computing programme and is a Critical Studies Lecturer in the Art Department at Goldsmiths, University of London. Somerset House Studio alumni, the duo has been awarded the State of Lower Saxony – HBK Braunschweig Fellowship (2020), the King's College Cultural Institute Grant (2018), and has been commissioned by the Contemporary Art Archipelago (2020) and the Cockayne Foundation (2018). Francisco (b. Spain) is an architect who completed a PhD in the School of Geography at Queen Mary, University of London, he was awarded the Wellcome Trust People Awards (2016) and authored Talking Dirty, published by Arts Catalyst (2016). FRAUD's recent work includes: "Carbon Derivatives" that has been namely presented at the Salon Suisse (the 57th Venice Biennale), the Whitechapel Gallery (2018) and the Somerset House (2018); "Shrimping Under Working Conditions", that was shown at Kunsthall Trondheim (2017) and the Empire Remains Shop in London (2016); and "Goodnight Sweetheart / the Right to Happiness" which was exhibited at Fotomuseum Winterthur (2020-21), the Asia Culture Center in Gwangju (2019), and has been featured in "Behind the Smart World", Radio Canada, and Asia Art Pacific. The duo's work is part of the permanent collections of the European Investment Bank Institute (LU) and the Art and Nature Center - Beulas Foundation (SP) (their website and see also). Theo Reeves-Evison is a Leverhulme Early Career Fellow at Birmingham School of Art, where his research focuses on the critical imbrications of art, ecology and speculation. He is the editor (with Jon K. Shaw) of Fiction as Method (Sternberg, 2017), and has published recent articles in journals such as Parallax, New Formations and Critical Inquiry. In 2018 he edited a special issue of the journal Third Text with Mark Rainey on the theme of "ethico-aesthetic repairs". His monograph Ethics of Contemporary Art: In The Shadow of Transgression was recently published by Bloomsbury Academic (his website).

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Bodies of Occupation: Conversation with Abdessamad El Montassir

This conversation with artist Abdessamad El Montassir will explore his projects about the micro-histories, non-material archives, forms of natural resistance and cartographies of invisible lives in Western Sahara. Participants Joanna Allan currently works at Northumbria University. She holds a Leverhulme Early Career Fellowship for a project investigating how imaginaries of wind and sun impact on politics mediated by energy systems. More widely, she is interested in nonviolent resistance movements, resistance poetry and the gender of authoritarianism and resistance. Regionally, Joanna's work has focused on Western Sahara and Equatorial Guinea, and on the Equatoguinean and Saharawi diaspora communities in Spain. Joanna's first book Silenced Resistance: Women, Dictatorships, and Genderwashing in Western Sahara and Equatorial Guinea (Wisconsin University Press, 2019) was shortlisted for the 2020 African Studies Association Fage and Oliver Prize for best book on Africa, and was runner up in the 2020 International Studies Association's biennial Feminist Theory and Gender Studies Book Prize. The book has been reviewed in the Journal of Spanish Cultural Studies, Africa Review, Midwest Book Review, Nomadic Peoples Journal and the International Journal of African Historical Studies. Before beginning her PhD, Joanna worked at National Energy Action, the UK Consortium on HIV/AIDS and International Development and London Councils European Service. She has been part of the Saharawi solidarity movement for years, including as President of Western Sahara Resource Watch until 2017. Omar Berrada is a writer, translator and curator whose work focuses on the politics of translation and intergenerational transmission. He is the author of Clonal Hum, a book of poems on "invasive species" (2020), and the editor or co-editor of several books, including Album: Cinémathèque de Tanger, a multilingual volume about film in Tangier and Tangier on film (2012); The Africans, a book on racial dynamics in Morocco (2016); and La Septième Porte, Ahmed Bouanani’s posthumous history of Moroccan cinema (2020). His writing has been published in numerous exhibition catalogues and essay collections, as well as in anthologies such as The University of California Book of North African Literature (2013) and Poetic Justice: An Anthology of Contemporary Moroccan Poetry (2020). Currently living in New York, he teaches at the Cooper Union where he co-organises the IDS Lecture Series. Sébastien Boulay is an anthropologist, and a Senior Lecturer at the University of Paris (Faculty Societies and Humanities), and member of UMR 196 CEPED (Centre Population & Développement). He has been conducting ethnographic field research since 1999 in Mauritania, and in Western Sahara since 2011. His current work focuses on the role of artistic productions (notably satirical and humorous, but also elegiac) and new media in the political struggles at work since the 1960s in the region. He has just devoted several years of research to collecting, translating and analysing a corpus of poems and songs paying tribute to deceased figures of West-Saharan political life, and in particular to figures of martyrs, a corpus that allows him to apprehend the West-Saharan political field from an original angle. He is also very interested in the evolution of the place of Moorish griots in political and media life since the 1950s and in the sense of the political commitment of West Saharan artists, whether griots or non-griots. He co-founded the International Academic Observatory of Western Sahara in 2016 and recently headed with Francisco Freire Culture et Politique dans l’Ouest saharien: Arts, Activismes et État dans un Espace de Conflits (L’Étrave, 2017); with Francesco Correale Sahara Occidental: Conflit Oublié, Population en Mouvement (PUFR, 2018); with Sylvie Fanchette, La question des Echelles en Sciences Humaines et Sociales (Éditions de l’IRD, 2019). He has just made a first film with Michel Tabet on the meaning of martyrdom in the Saharawi revolutionary tradition (SAHARA-Les Voix des Martyrs, 2020, 75’). Taous R. Dahmani is an historian of photography, a PhD researcher and a critic, working between Paris and London. She is interested in the links between photography and politics. She regularly gives talks at Les Rencontres d’Arles, Paris Photo and Tate Modern. She is on the editorial board of MAI:Visual Culture and Feminism and co-editor of The Eyes magazine. She regularly contributes to 1000 Words Magazine. Her recent articles include "Bharti Parmar’s 'True Stories': Against the grain of Sir Benjamin Stone's photographic collection", in PhotoResearcher (no°30, November 2018) and a chapter on Polareyes, a 1987 Black British female photographic journal in Feminist and Queer Activism in Britain and the United States in the Long 1980s (forthcoming). In October 2020 she organised and convened the conference "Let Us Now Praise Famous Women: Women's Labour to Uncover the Works of Female Photographers" at the Weston Library, Oxford. Abdessamad El Montassir is a multi-disciplinary artist. His research is centered on a trilogy: the right to forget/being forgotten, fictional and visceral narratives, and the trauma of anticipation. In his body of work, the artist invites us to rethink histories and cartographies through collective or fictional narratives and immaterial archives. His projects explore the ways in which traumas affect the behaviours and socio-political contexts of individuals and reveal processes of story-telling and history-writing. Abdessamad El Montassir takes stock of the knowledge on/of non-human identities (plants, wind, landscapes) in order to spark new ways of thinking about our environment. Abdessamad El Montassir  has participated in several national and international exhibitions, including Ce qui s’oublie et ce qui reste (curated by Meriem Berrada and Isabelle Renard at National Museum of Immigration History in Paris); Surgir des cendres (in the frame of Chroniques - Biennale of Digital Imagination in Aix-Marseille); Invisible (curated by Alya Sebti for the 13th Biennale of Contemporary African Art of Dakar and for ifa-Galerie in Berlin); Leave No Stone Unturned (curated by Clelia Coussonnet at Le Cube - independent art room in Rabat); De liens et d’exils (La Villa Empain - Fondation Boghossian in Brussels); Al Amakine (11th Rencontres de Bamako); Saout Africa(s) (in the context of DOCUMENTA 14 at SAVVY Contemporary in Berlin).

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Bodies of Occupation: Conversation with Hyunhye (Angela) Seo

This conversation with artist Hyunhye (Angela) Seo will explore how colonialism and occupation not only shape the occupied culture, but how that culture, adapts, inherits and responds, and the melding of native/original culture and coloniser culture into something familiar yet new. Participants Hyunhye (Angela) Seo is an artist exploring experimental composition and expression of sound and its manifestations within space and body. She is a member of the musical group Xiu Xiu, in which she extends the band’s visual themes to immigrant diaspora, post-colonial spirituality and ritualism, and exotification/fetishisation via videos that have been featured in film festivals around the world. She has performed in collaboration with various artists spanning the visual and performance world, including with Danh Vo ("Metal" at The Kitchen, and "Deforms the Unborn" at the Guggenheim NYC), and the Berlin-based Cheap Collective (featuring Vaginal Davis, Susanne Sachsse and Marc Siegel). Recently, her solo album, Strands, explores abstract soundscapes built with processed percussion, improvisational piano, and dark ambient material. Her sound installations in relation to this work create an immersive territory that compels the listener to question how they carry the immediate and lingering impact of sound (her website). Russ Skelchy is an interdisciplinary scholar specialising in the popular musics of Indonesia and Malaysia. He received his PhD in Ethnomusicology (2015) and MA in Southeast Asian Studies (2010) from the University of California, Riverside. His research interests include multiracial studies, sound studies, popular music (sub)cultures, decolonisation and gender. He was a recipient of a Fulbright US Scholar grant (2017-2018), Fulbright Institute for International Education Fellowship (2011-2012) and the University of California Pacific Rim Research Program Fellowship (2011-2012), and he was an ERC Research Fellow on the COTCA Project from 2017 to 2020. His work has been published in the Journal of Popular Music Studies, South East Asia Research, Sound Studies and various other international journals.  

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Bodies of Occupation: Conversation with Estefanía Peñafiel Loaiza

This conversation with artist Estefanía Peñafiel Loaiza will cover her project "Speculations" (on how to enter and exit a forest) (2018), the spectral presence of colonial occupations, and their resonance with present-day political situations Participants Zuzanna Dziuban is a 2019-2024 Senior Postdoc on the ERC Consolidator project "Globalized Memorial Museums: Exhibiting Atrocities in the Era of Claims for Moral Universals" at the Austrian Academy of Science. She received her PhD in cultural studies in 2009 at Adam Mickiewicz University in Poznań. She has been a postdoctoral researcher at the University of Konstanz and research fellow at the Amsterdam School for Heritage and Memory Studies, the University of Amsterdam, with a position founded by the DAAD/Marie-Curie cofound program P.R.I.M.E (2015-2017) and a postdoctoral researcher and lecturer at the School for Heritage, Memory and Material Culture, University of Amsterdam, and Freie University of Berlin, iC-ACCESS /HERA "Uses of the Past" Project (2017-2019). Zuzanna has been a Fritz-Thyssen Stiftung fellow at the Humboldt University in Berlin and House of the Wannsee Conference (2012), Alexander von Humboldt Stiftung Fellow at the University of Konstanz and Humboldt University of Berlin (2012-2014), Postdoctoral Fellow at the International Institute for Holocaust Research, Yad Vashem (2013), Postdoctoral Fellow at the Vienna Wiesenthal Institute for Holocaust Studies (2014-2015), and Visiting Scholar at the Institute for Advanced Study, Kulturwissenschaftliches Kolleg, University of Konstanz (2016-2017). Estefanía Peñafiel Loaiza was born in Quito, Ecuador, and works and lives in Paris. She works with different languages and medias (installations, video, photography, actions). Her practice has been constantly motivated by interrogations related to her own displacements and relocations, between her country of origin and the one in which she is established. This situation has driven her to explore, in a wide spectrum, notions such as territories, migrations, frontiers, memory and history, visibility and invisibility (her website).

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Bodies of Occupation: Conversation with Nontawat Numbenchapol

This conversation with the film director Nontawat Numbenchapol on his movie Boundary (2013), which follows a young soldier called in Bangkok to break up the "red shirts" protest (2011) to his hometown in Sisatek, a zone of conflict between Thailand and Cambodia due to the ongoing political dispute between the two countries over the Preah Vihear Temple. Boundary was funded by Busan International Film Festival and Art Network Asia. Numbenchapol received the Young Filmmaker award from the Bangkok Critics Assembly and Boundary screened across many film festivals such as Berlin International Film Festival, International Documentary Film Festival Amsterdam (IDFA), and Yamagata International Documentary Film Festival. Nontawat Numbenchapol's movie Boundary (2013) will be accessible online on 5 October for 48 hours. Participants Brian Curtin is an Irish-born art writer, lecturer and curator of contemporary arts. He holds a PhD in studio art from the University of Bristol and has been based in Bangkok since 2000. Brian's work explores dialogues between contemporary art, Queer theories and studies in visual and material cultures. His commentary, essays, interviews and reviews have been published in Art Journal, Artforum, Art Asia Pacific, Circa, Craft Research, Flash Art, Frieze, Journal of Curatorial Studies and Parachute and elsewhere. Published profiles of artists include Alice Maher, Paul Pfeiffer, Araya Rasdjarmrearnsook, Collier Schorr, Jakkai Siributr, and Apichatpong Weerasethakul. His monograph Essential Desires: Contemporary Art in Thailand was published by Reaktion Books in 2021. Brian's research addresses challenges in thinking through hierarchies and antagonisms that limits critical approaches to modern and contemporary art; and published essays in this respect explore the art-historical marginalising of "decoration" and also problems of national identity as a frame for recent art. Brian has presented at conferences and symposia in Kuala Lumpur, Kyoto, London and Singapore. He has held writer's residencies in Beijing and Kuala Lumpur. Curated exhibitions include China, New York, Korea and Britain as well as regionally in Southeast Asia. He managed the experimental venue H Project Space in Bangkok from 2011 to 2018 which now functions under the mantle Brian Curtin Projects. Curatorial work has been funded by the Arts Council England and Australia Council for the Arts. Brian has been a nominator for the Prix Pictet award in photography, the Sovereign Art Prize, and collaborations with Saatchi Gallery London. He has lectured in art history, visual culture and studio courses at the Faculty of Architecture of Chulalongkorn University, Bangkok, since 2006. In 2018 Brian led Uncommon Pursuits: A Temporary School for Emergent Curators in Southeast Asia at Sàn Art, a non-profit in Ho Chi Minh City (his website). May Adadol Ingawanij is a writer, curator, and teacher and Professor of Cinematic Arts at University of Westminster, where she co-directs the Centre for Research and Education in Arts and Media. She works on decentered histories and genealogies of cinematic arts; avant-garde legacies in Southeast Asia; forms of potentiality and future-making in contemporary artistic and curatorial practices; aesthetics and circulation of artists’ moving image, art, and independent films in, around, and beyond Southeast Asia. Ingawanij's recent publications include articles on the Karrabing Film Collective, Nguyen Trinh Thi and Araya Rasdjarmrearnsook. Her curatorial projects include Animistic Apparatus and Lav Diaz: Journeys. She is writing a book entitled Animistic Medium: Contemporary Southeast Asian Artists Moving Image. Nontawat Numbenchapol (b. 1983, Bangkok) is a Thai film director and television screenwriter who is widely recognised for his documentary work. He graduated from the Visual Communication Design Department, Faculty of Art and Design, Rangsit University. Numbenchapol's second documentary By the River, about the Klity villagers affected by water lead contamination. It became the first Thai film to receive the Special Mention award from the Locarno International Film Festival.In 2016 Numbenchapol created an hybrid docu-fiction #BKKY, a story of a teenage girl, "Jojo", questioning life and identity. Jojo's character is a compilation of 100 teenagers interviewed in Bangkok about their loves and dreams and coming-of-age just after graduating high school. It premiered in October 2016 at the Busan International Film Festival before it received the Jury Award for best feature- length film from Lesbisch Schwule Filmtage Hamburg, Germany. His Mobile Lab Project experiments and researches on new ways of human visual and sound perception different from normal human perception. The project researches historical, social, and political information recorded over many generations until they became living belief systems. The project aims to change the perception of those beliefs via recording and expression onto visual and aural media. The purpose is to open the minds of people who receive communications from Mobile Lab, so that there is always the another side of established beliefs and new beliefs can rise up.

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Bodies of Occupation: Conversation with Shaq Koyok

This conversation with artist/activist Shaq Koyok will cover art and the issues faced today by Indigenous communities in Malaysia (including land rights, deforestation, poverty, racial discrimination and religious conversion). Participants Gaik Cheng Khoo obtained her BA (English) from The University of Texas (Austin), then she moved to Canada for her MA (English) and PhD (Interdisciplinary Studies) at the University of British Columbia. She spent two years as a postdoctoral fellow at the Asia Research Institute (ARI-NUS) in Singapore in 2004-05, where she built up invaluable networks in the region before becoming a lecturer at the Australian National University, where she taught gender, cultural studies and Southeast Asian cinema (2005-2012). She is currently the Director of the University of Nottingham Asia Research Institute, Malaysia. Gaik's work focuses on cinema and independent filmmaking in Malaysia; cosmopolitan spaces including public eating places like kopitiam and mamak stalls; race, religion and the politics of identity; multiculturalism and food. She is focusing on Korean migrants in Malaysia as exemplary of generational and attitudinal changes among South Koreans. As transnational migrants on the move for studies, work, play, or retirement, they register in complex, layered and sometimes contradictory ways, a kind of resistance to traditional stereotypes of South Korean middle class aspirations and status. Gaik is interested in how temporality, modernity and happiness figure in their migration and settlement. Her most recent research is on a political economy of the Malaysian durian, focusing on the supply chain. Shaq Koyok (b. 1985 Kampung Pulau Kempas in Banting, Selangor, Malaysia) is a contemporary artist from the Indigenous Temuan tribe of Selangor. He started painting with oil pastels at five years of age to express his feelings. He went on to pursue Fine Art at Universiti Teknologi MARA. In was the trauma of watching land developers encroaching onto the jungle around his village and plundering the forest in the 1990s and early 2000s that fueled his passion for art and activism. Shaq produces works that reflect his growing concern about the world, environmental degradation and the fate of the Orang Asli people (which translates as "Original People") in Malaysia. Specialising in portraits, his work has been shown in Britain, Australia and the United States, as well as Malaysia. In 2017, Shaq won the Merdeka Award for International Attachment. Simon Soon is a Senior Lecturer at the University of Malaya in Kuala Lumpur. He researches across of a range of interests in modern and contemporary art and architecture in Southeast Asia, further to completing a PhD at the University of Sydney, which examined left-leaning political art movements in the region from the 1950s to the 1970s. He was a participant in "Ambitious Alignments: New Southeast Asian Art Histories", funded by the Getty Foundation's Connecting Art Histories initiative and is currently a co-investigator for the project "Decolonial Art Histories of Southeast Asia" funded by a British Academy Newton Mobility Grant. Simon is co-editor of Narratives in Malaysian Art Vol. 4 and a member of the editorial collective of the journal Southeast of Now: Directions in Contemporary and Modern Art in Asia.

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Bodies of Occupation: Conversation with Khvay Samnang and Vuth Lyno

This conversation with artists Khvay Samnang and Vuth Lyno will explore different forms of corporeal occupation, resistance and transformation in Cambodia (including political violence, extractivism and international justice).   Participants Pamela Nguyen Corey researches and teaches modern and contemporary art history, focusing on Southeast Asia within broader transnational Asian and global contexts. She received her BA (Studio Art) from the University of California, Irvine, and her PhD (History of Art and Visual Studies) from Cornell University. She will join Fulbright University Vietnam in January 2021 from SOAS University of London, where she has been teaching since receiving her PhD in 2015. She is the author of The City in Time: Contemporary Art and Urban Form in Vietnam and Cambodia (University of Washington Press, 2021), and her writing is featured in numerous academic journals, exhibition catalogues, and platforms for artistic and cultural commentary. She is a guest co-editor of "Voice as Form", a special issue of Oxford Art Journal (2020), which introduces material from her new research into the use of voice and sound in contemporary artworks from Southeast Asia and its diasporas. Her research has been supported by the Fulbright-Hays Program and the Center for Khmer Studies, and most recently by the British Academy for a Newton Mobility Grant project entitled "Constructing Decolonial Art Histories of Southeast Asia" in collaboration with the University of Malaya. Khvay Samnang (b. 1982, Svay Rieng) graduated from the Painting Department at the Royal University of Fine Art in Phnom Penh, where he lives and works today. Khvay's multidisciplinary practice offers new views on historic and current events as well as on traditional cultural rituals using humorous symbolic gestures. In his work, which includes all media, he focuses on the humanitarian and ecological impacts of colonialism and globalization. The development of each body of work is based on thorough research and investigation of local specificities, structures and conditions. Khvay is a founding member of Stiev Selapak, an art collective dedicated to reappraising and remembering Cambodian history and exploring continuities in visual practices disrupted by civil war and the Khmer Rouge regime. In 2010-11, Stiev Selapak set up two nonprofit art spaces in Phnom Penh: Sa Sa Art Projects, for experimental residencies, knowledge-sharing and community-based programmes; and SA SA BASSAC - a gallery, resource centre and reading room. Khvay teaches Contemporary Art Class to emerging Cambodian artists under the programme of Sa Sa Art Projects. In 2016 he was nominated for the Future Generation Art Prize, Ukraine. In 2015 he was nominated for Prix Pictet Prize; AIGA AGO Photography Prize Long List, Canada; the Sovereign Asian Art Prize, Hong Kong; and Prudential Eye Awards Best Emerging Artist in Asia Using Photography, Singapore. In 2014-15 he was a grant holder of KfW Stiftung for the 12-month programme "Artists in Residence" in collaboration with Künstlerhaus Bethanien, Berlin. In 2017 he was invited by KfW Stiftung as an alumnus to participate in a think tank with the world-renowned dancer and choreographer Akram Khan. In 2019 he was artist in residence at Delfina Foundation, London. Khvay has exhibited at numerous art centres, biennales and galleries worldwide, including Haus der Kunst in Munich, Orange County Museum of Art in California, Künstlerhaus Bethanien in Berlin, Jeu de Paume in Paris, CAPC in Bordeaux, Asia Pacific Triennial of Contemporary Art, Taipei Fine Arts Museum in Taiwan, DOCUMENTA 14, Jim Thompson Art Center in Bangkok, Biennale of Sydney, Kadist Foundation in San Francisco, Singapore Biennale, and ZKM | Center of Art and Media in Karlsruhe (his website). Annie Jael Kwan is an independent curator and researcher whose exhibition-making, programming, publication and teaching practice is located at the intersection of contemporary art, art history and cultural activism, with interest in archives, histories, feminist, queer and alternative knowledges, collective practices, and solidarity. As co-director of Something Human, a curatorial initiative, she has presented live art projects across the UK and Europe, and launched the the pioneering Southeast Asia Performance Collection (SAPC)with over 27000 digital items that represent 50 artists from the region at the Live Art Development Agency during the 2017 M.A.P. (Movement x Archive x Performance) project. In 2018, she curated the exhibition and public programme, UnAuthorised Medium, that explored artistic responses to the "archive" featuring thirteen artists working in relation to Southeast Asia at Framer Framed, Netherlands. In 2019, she co-curated the Archive-in-Residence "Southeast Asia Performance Collection" exhibition, along with the Pathways of Performativity in Contemporary Southeast Asian Art conference at the Haus der Kunst in Munich, Germany. Kwan leads Asia-Art-Activism (AAA), an interdisciplinary, intergenerational research network that has been in residence at Raven Row since 2018. In 2019, she curated the live art programme, Being Present, at the Manchester Art Gallery, and its digital adaption for the Paul Mellon Centre’s British Art Studies Issue 13; in 2020, she led and co-curated the expansive digital programme, Till We Meet Again IRL, and in 2021, launched Tools to Transform (co-initiated with Joon Lynn Goh), a project focused on creating resources for Asian and diaspora organising that received the European Cultural Foundation’s Culture of Solidarity grant in 2020. For the 2021 London, Asia, Art, Worlds conference convened by the Paul Mellon Centre's Studies in British Art, she curated the online programme, QueerAsias, and was part of the curatorial committee for the Korean Cultural Centre UK's A Screening Room. She is the instigating council member of Asia Forum, along with Hammad Nasar, Dr Ming Tiampo and John Tain, that was launched on 14 May with a programme featuring Patrick Flores, Ho Tzu Nyen, Anna Tsing, Lantian Xie and Shilpa Gupta. Asia Forum is scheduled for a digital gathering in October 2021, and a one-day programme at the Venice Biennale on 23 April 2022 at the Fondazione Querini Stampalia. She was the co-editor of Southeast of Now: Directions in Contemporary and Modern Art in Asia's guest issue: Archives. She is a recipient of a Diverse Actions Leadership Award 2019, and currently teaches Critical Studies at Central St Martins, University of the Arts, London, and co-teaches Writing and Curating at KASK, School of Art, in Ghent, Belgium. Vuth Lyno (b. 1982, Phnom Penh) is an artist, curator and educator interested in space, cultural history and knowledge production. His artworks often engage with micro and overlooked histories, notions of community, place-making, and production of social relations. He works across various media, including photography, video, sculpture, light, and sound. He often constructs architectural bodies as situations for interaction. He introduces human stories and knowledge within these installations by drawing on a wide range of materials such as original interviews, artifacts, and newly made objects. His artistic and curatorial practice is participatory in nature, engaging mutual and communal learning, experimentation, and aims to share multiple voices in the production of meaning. He believes in the potency of collectivity, storytelling, and the agency of cultural objects as potential pathways to reimage our sociality. Alongside his individual artistic practice, he is also a member of Stiev Selapak collective which founded and co-runs Sa Sa Art Projects, a long-term initiative committed to the development of contemporary visual arts landscape in Cambodia. Together with the collective, he teaches, initiates, and innovates art programs facilitating a growing and more critically conscious community. Vuth has presented his artworks in Cambodian and international venues, including at major exhibitions and festivals such as the Asia Pacific Triennial of Contemporary Art, Biennale of Sydney, Singapore International Festival of Arts, and Gwangju Biennale. His artworks have appeared at institutions such as the Museum of Contemporary Art Taipei; Gallery of Modern Art, Brisbane; Metropolitan Museum of Manila; the Art Gallery of New South Wales, Sydney; the National Gallery of Indonesia, Jakarta; Centre for Contemporary Art Ujazdowski Castle, Warsaw; Guangdong Times Museum, Guangzhou; Osage Gallery, Hong Kong; and Chiang Mai City Arts & Cultural Centre. He holds a Master of Art History from the State University of New York, Binghamton, New York, a Fulbright Fellowship (2013-2015), and a Master of International Development from RMIT University, Melbourne, supported by the Australian Endeavour Award (2008-2009) (his website).

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Remember, the higher the reproduction quality, the more money

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Bodies of Occupation: Roundtable – Frankenstein in Baghdad

Roundtable on Ahmed Saadawi's Frankenstein in Baghdad Ahmed Saadawi’s novel Frankenstein in Baghdad (Oneworld Publications, 2018 [2013]), a take on Mary Shelley's famous book, serves as a metaphor for cyclical violence and the precariousness of daily life in Iraq under American occupation. It tells the story of the Whatsitsname, a creature made of the limbs of people who died in terror attacks in Baghdad. Prompted by the death of a friend, junk dealer Hadi collects and sows these body parts together to form a "complete" body that can be given a proper funeral. Unsurprisingly, his attempt goes awry. Possessed by the spirit of one of the dead, the Whatsitsname goes on a killing spree to avenge the innocents whose flesh it is composed of. When the revenge has been carried out, the body part drops off and must be replaced with fresh ones. As the line between victims and perpetrators becomes murkier, the Whatsitsname realises that its mission is just an endless and pointless task. Saadawi’s creature is more than the sum of its parts. It is a monstrous, more-than-human body whose ongoing reconfiguration reflects the ever-changing reality of occupation itself. As such, the Whatsitsname is not only an alternative epistemology or a stratigraphical instrument of exploration, but also the entry point into the becoming of occupation. Participants Jonathan Luke Austin is Assistant Professor of International Relations at the University of Copenhagen. He is also Lead Researcher for the Violence Prevention (VIPRE) Initiative at the Graduate Institute of International and Development Studies, Geneva. Austin’s research agenda is currently orientated around four main axes: i. the ontology and microsociology of political violence; ii. the relationships between technology, design theory and world politics; iii. the political status of aesthetics, and; iv. the contemporary state of scientific critique. Alongside these foci, Austin possesses a decade of research and field experience in the Middle East (Syria, Lebanon, Iraq) and regularly consults for NGOs and the media on current events. He has contributed to essays collections, reports, and journals such as Frame: Journal of Literary Studies, Security Dialogue, European Journal of International Relations, and International Political Sociology. He is currently working on two books, Small Worlds of Violence: A Global Grammar for Torture and Unmaking Global Violence (his website). Dom Davies is a Senior Lecturer in English at City, University of London, where he is also the Programme Director for the BA English. He holds a DPhil and British Academy Postdoctoral Fellowship from the University of Oxford. He is the author of two books, Imperial Infrastructure and Spatial Resistance in Colonial Literature, 1880-1930 (2017) and Urban Comics: Infrastructure and the Global City in Contemporary Graphic Narratives (2019), along with many articles and book chapters broadly in the field of colonial and postcolonial writing, visual culture, and critical infrastructure studies. He is the co-editor of Planned Violence: Post/Colonial Urban Infrastructure, Literature & Culture (2018) and two other edited collections. He is currently writing a trade book about the cultural, regional, and post-imperial politics of the British government's "levelling-up agenda", which is due out with Lawrence & Wishart in 2022 Kobi Kabalek is Assistant Professor of Holocaust Studies and Visual Studies in Germanic and Slavic Languages and Literatures and Jewish Studies, Penn State University. He earned his PhD in history from the University of Virginia, with a dissertation on "The Rescue of Jews and the Memory of Nazism in Germany" (2013). In 2014-2017, he was a post-doctoral fellow at the Hebrew University in Jerusalem as part of the ERC project "Experience, Judgment, and Representation of WWII in an Age of Globalization", and examined conflicting perspectives concerning the war in Mandatory Palestine and their impact on the postwar historiography of Israel and Zionism. His research focuses on historical perceptions, moral sentiments and memory in film, literature, auto/biography, oral narratives, art, etc., in German, Israeli, and global Holocaust history. He currently explores marginalized and extreme phenomena in Holocaust testimonies, historical writing, and popular culture – with special attention to the role of fantasy, imagination, and horror – and their impact on our understanding and representation of the Holocaust. Rúben Leitão Serém is an Assistant Professor in History at the University of Nottingham since 2019. He specialises on the social history of the Spanish Civil War of 1936-1939, General Franco's dictatorship (1939-1975), and its traumatic legacy in present-day Spain. A fan of microhistory and memory studies, Rúben has studied the origins, course, and reverberations of this brutal conflict in southern Spain, subsuming it into the wider historiography of nationalism in twentieth-century Iberia. More recently, Rúben has focused his research on the so-called "memory wars" in twenty-first-century Spain, in particular, on their social and cultural ramifications, and their use to feed several – and antipodal – nationalistic waves within the country (Spanish and Catalan nationalism). With around 100,000 victims of the civil war still lying in mass graves all over the country, from roadside ditches to mines and wells, Spain is presently only second to Cambodia in the total number of disappeared citizens. Deep and bitter divisions persist on how to deal with these bodies, for their presence and visibility has the power to erode the political consensus established during Spain’s transition to democracy during the 1970s. At a social level, the undignified status of the dead has only served to augment the trauma experienced by survivors and their descendants. In this respect, Franco’s project to instil fear and divide the nation lives on long after the death of its architect, finding nourishment on its executed victims. Rúben is the author of Conspiracy, Coup d’état and Civil war in Seville, 1936-1939: History and Myth in Francoist Spain (Eastbourne: Sussex Academic Press, 2017). More recently, he has published "Muerte y miseria en la «Ciudad de Dios»: El virreinato de Queipo de Llano en Sevilla" in Del Arco Blanco, Miguel Ángel (ed), Los «años del hambre»: Historia y memoria de la posguerra franquista (Madrid: Marcial Pons, 2020). Rúben is currently working on the involvement of the ultranationalist Portuguese Estado Novo dictatorship in the Spanish Civil War. Annie Webster studied English and Related Literature at the University of York and Arabic at the University of Edinburgh before completing her Wolfson-funded PhD on post-2003 Iraqi fiction at SOAS in 2020 with a thesis titled Stories of Creative Destruction in post-2003 Iraqi Fiction. She has since been teaching modern Arabic literature at King's College London and the University of Cambridge. She has published a number of articles on contemporary Iraqi literature, including "Ahmed Saadawi's Frankenstein in Baghdad: A Tale of Biomedical Salvation?" in Literature and Medicine (2018), "Indexing War: The Craft of the Catalogue in Sinan Antoon's The Book of Collateral Damage" in Wasafiri (2021), and a chapter on literary depictions of occupied Baghdad forthcoming in The Routledge Companion of Literary Urban Studies. She has also contributed pieces to the TORCH blog, the MULOSIGE blog, and Arablit.org. More recently, she has developed an interest in contemporary Iraqi art which she has written about for ArtsCabinet.org, and is working with the artist Hanaa Malallah on the forthcoming exhibition "Co-Existent Ruins" (SOAS, 2022). She is currently preparing a monograph from her thesis which explores how contemporary Iraqi literature commemorates the human and environmental fallout of the 2003 Iraq War. Investigating how these texts have been incorporated into the international literary marketplace and framed by neoliberal paradigms of empathy, she draws attention to the various modes of linguistic, cultural and material translation that these texts undergo. She also highlights intertextual links with classical Arabic literature that have thus far been overlooked. 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It would have been higher if the worth included a mobile

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