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            "Text": "#59international photography magazineTHE ARCHIVAL ISSUEHISTORIESFEATURES 4 6 11 14 21 28On My Mind What's New Bookshelf Interview In Depth Theme Text3349113127169185241255PORTFOLIOS5773185 195 209 241 255 26513719526533 49 57 73 113 127 137 169209/ Sofia Yala Rodrigues Giovanna Petrocchi Pacifico Silano Kai Yokoyama Kelani Abass Délio Jasse Tavares Strachan Dan Boardman & Aspen Mays David Alekhuogie Lívia Melzi Alanna Fields Frida Orupabo Som Prabh Amak MahmoodianFocusing on the archive as subject Histories — The Archival Issue looks at contemporary ways of engaging with archival images, and their remediation as a form of activation and critical analysis. The relationship between photography and the archive is a symbiotic one, but also an inherently problematic one, which is why the questions addressed in this magazine relate to its construction, and place decolonial approaches at the centre of the conversation. We invite you to ponder on the reimagined archive — one where past collective memories merge, shape the present and redirect the future.HIS TOR IES2CONTENTS FEATURES EDITORIAL3HISTORIES 33by The EditorsON MY MIND4Shirin Neshat Jacqueline BatesWHAT'S NEW: *MOHAMAD ABDOUNI6by Joy Stacey11BOOKSHELFSOFIA YALA RODRIGUES Text by Ana Raquel Manhique49GIOVANNA PETROCCHIINTERVIEW Awoiska van der Molen & Eugenie Shinkle21IN DEPTHOn the Archive in Potential History: Unlearning Imperialism by Ariella Aïsha Azoulay and Stanley Wolukau-Wanambwa28NOTES FOR A POSSIBLE INVENTORY Elisa Meddeby Clusterduck Collective169Text by Kim Knoppers57PACIFICO SILANO Text by Avram Finkelstein73Text by Mika Kobayashi89THERE IS ALWAYS MORE : SEXUALITY'S ARCHIVESASPEN MAYS & DAN BOARDMAN Text by Lucy Ives185KAI YOKOYAMAJessica de Abreu14159 MEMES AND THE (ANTI-)ARCHIVEDAVID ALEKHUOGIE Text by Antawan I. Byrd195LÍVIA MELZIText by Eduardo Jorge de Oliveira209 ALANNA FIELDS Text by Chandra Frankby Anjali Arondekar98 IN CONVERSATION225On the Ethics and Contradictions of the Archive by Henri Badaröh, Carollina Lauriano & Stephanie Ribeiro with works by Fernando Banziby Brenda J. Caro Cocotle235 113KELANI ABASS Text by Mariama Attah127 137TAVARES STRACHAN Text by Mirjam KooimanACTIVATING ARCHIVES, COMMUNITY DIALOGUES by Sunil ShahDÉLIO JASSE Text by Henri BadaröhA NON-ODE TO DECOLONISING THE ARCHIVE241FRIDA ORUPABO Text by Anne Wetsi Mpoma255SOM PRABH Text by Varun Nayar153LIKE A HUNTER VENTURING OUT ON A SAFARI265AMAK MAHMOODIAN Text by David Campanyby Rona Sela288COLOPHONEDITORIALArchives are all around us: in the form of family albums, or the community, city and national archives. We tend to perceive them as places and spaces where memories and evidence of histories are kept, preserved, indexed and certified; as repositories of traces, and treasure coves of relics and narratives. However, they are also very complicated entities, as the construction of archives all too easily lends itself to the curation, staging, erasure and manipulation of histories in ‘the public eye'. The Greek etymology of the word developed in the declinations of arkhē (government), arkheion (town hall, public building), ta arkheia (public records), and the subsequent Late Latin archivum (plural archiva) stands for ‘written records'. These few linguistic elements already suggest the fundamentally complex interrelation between institutional power and the creation, construction, management of archives — one that grew only more problematic over time. However, today's archive fever keeps rising with a renewed attention towards its contradictions and the imperative to discuss and dismantle the supposed neutrality of the archive. Foam Magazine #59 Histories — The Archival Issue takes a close look at the linkage between photography, the archive and the ways in which the two influence our perception and understanding of histories and self. It focuses on the archive as a subject and the archival image as both source and context, highlighting decolonial approaches and the contemporary questions surrounding such conversations. Our editorial journey started with the intention of sifting through the many layers, getting our hands dusty while focusing on the archive's remediation as a form of activation and criticalanalysis — including the possibilities thereof. We are incredibly proud to host contributions from a wide plethora of precious guests: from portfolios showing the works of artists such as Tavares Strachan, Alanna Fields, David Alekhuogie, Pacifico Silano and Frida Orupabo, to text contributions by Ariella Aïsha Azoulay, Stanley Wolukau-Wanambwa, Anjali Arondekar, Brenda J. Caro Cocotle and Rona Sela — only to name a few. Our focus not only lies in the examination of established or physical archives, but in the creation of contemporary forms of photographic archiving. Ranging from innovative collaborations and new approaches in education as described by Sunil Shah, to the collection of memes as explored by Clusterduck Collective with their transmedia project Meme Manifesto. Our mostloved feature, the On My Mind, hosts precious reflections from Shirin Neshat and Jacqueline Bates, while the Bookshelf presents an inspiring and necessary selection coming from Jessica de Abreu and Amsterdam-based The Black Archives. The What's New introduces the upcoming publication by Mohamad Abdouni, Treat Me Like Your Mother: Trans Histories from Beirut's Forgotten Past and our regular, main Interview presents an inspiring conversation between Awoiska van der Molen and Eugenie Shinkle. Last but not least, you will find something special right at the end of this issue of Foam Magazine. The back cover of Histories presents a small selection of posters from the archive of Now You See Me Moria. In August 2020, the namesake Instagram account was launched, as a joint effort between an Afghan refugee living in the largest refugee camp of Europe (located in Moria, on the Greek3island of Lesbos), and a photo editor based in the Netherlands, to collect photos and share stories documenting life in the camp. Shortly after, a Syrian refugee and another Afghan man joined. It was an attempt to make people across Europe aware of the dire, difficult situation in the camp — especially considering the access ban to journalists and professional photographers inside the premises. Within the timespan of a year, the initiative expanded into a collective creative effort across Europe, with artists and designers engaging with the photographs made in the camp to create powerful poster designs. The posters have been pasted on streets and windows across the continent during guerrilla actions, and are now the subject of a crowdfunding action to produce a catalogue, called Action Book, including all of them. During the summer of 2021 Foam, together with two other major Dutch photographic institutions, the Nederlands Fotomuseum and Stedelijk Museum Amsterdam, will collaborate to host a platform for the collective in their spaces. In addition to Rotterdam and Amsterdam, Now You See Me Moria will be presented at various cultural locations in Europe this year including Munich (DE), Vienna (AT), Barcelona (ES), Getxo (ES) and Viseu (PT). As usual, we hope the pages you are about to turn will provide inspiration, instil questions, offer beauty, knowledge and unexpected ideas. It is a pleasure and a privilege to have you with us on this journey. — The Editors6WHAT'S NEW21WHAT'S NEWTREAT ME LIKE YOUR MOTHER: A Cold Cuts publication by MOHAMAD ABDOUNITrans Histories from Beirut's Forgotten Past Article by JOY STACEY710WHAT'S NEWWe hope that through sharing histories that have been forgotten, we can start to build a more just, fair and kind future while fully honouring those who fought to exist before. We want to celebrate them and their existence, understand their histories, and inform others in the process. This project is about affording our elders basic human dignity, visibility, love and kindness.p.6 1: Dolly; Sation Beirut — Matn, Lebanon (2019). Mohamad Abdouni, courtesy of the artist. 2: Em Abed at the office on Halloween night. — J. Saroufim S.a.r.l. Printing & Converting, Maetn, Lebanon (–1993). Photographer unknown, courtesy of Em Abed. Note: Em Abed worked as a graphic designer in a printing press. Here she poses for photos at the office before heading out to a Halloween party. p.8 3: Em Abed on a roadtripin a tour bus heading to Aleppo, Syria. I was named Miss bus in a pretend beauty pageant we held on our way to Syri”. Lebanon (a" –1995). Photographer unknown, c. Courtesy of Em Abed. I was named Miss Bus in a pretend beauty pageant we held on our way to Syria.” — Em Abed 4: Em Abed and Jahadat on Halloween night. SafraMarine — Keserwan, Lebanon (1992). Photographer unknown, courtesy of Em Abed. 5: Em Abed on Halloween night. SafraMarine — Keserwan, Lebanon (1994). Photographer unknown, courtesy of Em Abed. Note: Em Abed won first place in the costume competition that year.MOHAMAD ABDOUNI is a photographer, filmmaker and curator based in Beirut. He is also editor-inchief and creative director of Cold Cuts magazine, the photo journal exploring queer culture and the Middle East. His work has been featured by Dazed, i-D  Vice, It's Nice That, Sleek, Photoworks (UK) and others. JOY STACEY is a collaborative creative practitioner, writer and curator based in Brighton, UK, with particular focus on the body-asresistance, and feminist, queer and decolonialanticolonial cultures in Palestine and Lebanon.JESSICA DE ABREU'SBOOKSHELF: The Black Archives11The Black Archives is a historical archive and cultural centre, located in Amsterdam's East and the Black historical neighbourhood Bijlmer, where people can go for inspiring conversations, substantive activities and access books from Black and other perspectives that often remain underexposed elsewhere. Based on the collections, the team develops exhibitions, events, lectures and more.14INTERVIEWINTERVIEW15Awoiska van der Molen in conversation withEugenie Shinkle20INTERVIEW scious operations handling the film material, counting the frames left on the film, changing cassettes creates a precious different pace. When I am making my work, I enjoy that the photographed image isn't visible instantly. The latent image on the negative is brewing until it is further worked on after my return. If I could see the results on the spot, if I could download all the images in the evening to a laptop to look at them... this would pull me out of an accumulated focus and throw me into a result-driven reality. I prefer not to. I favour the analogue print. I like the specific skin of the fibre paper, the different sharpness, perhaps stretched grains of the negative, the retouching with a fine brush to cover the dust spots, the tiny signs that appear with the physical handling. All these factors contribute to the final soul of the work.ESAMESAMESAMdeath. I use a camera, it is a photograph, but my works are psychological spaces, not landscape photographs. ESAMThat's hard for a lot of people to understand — why are you using a camera if you don't want to make something that's photographic? I understand that feeling very well, but I don't have a good answer to that question. It's a sense that there's something beyond what you see. The camera is a means, but deepening the experience of making the work is the goal. The landscape, its nature, is a loyal and faithful vacuum where I can achieve this. It makes me feel at ease to return to the primordial. I am not documenting the landscape, but I return here to ‘be'.This experience you have when you photograph is difficult to put into words, so I'm very interested in the way that the exhibitions, and the books help to shape it, to transform it, to make it into something that doesn't necessarily recreate your experience, but that gives it to the viewer in a different form. The books and exhibitions are my thoughts, my thinking, my feeling. For every new situation, whether it is an artist book or an exhibition, I freely combine older and newer works. Sometimes an older work that I have never shown before can start to play a role, to complete the voice that I wish in a particular presentation. I don't consider or treat my work as separate ‘series'. Even images in my books have subtly overlapped.EUGENIE SHINKLE is a photographer and writer based in London, England. Originally trained as a civil engineer, she holds an MA in Photography, Art History and Landscape Anthropology, and a PhD from the Slade School of Fine Art. She writes and lectures widely on a range of topics including architecture, landscape, vision machines and human technology relations. Eugenie is co-editor of the photobook platform c4journal, and a regular contributor to many online and print publications.What makes an image good, or worth looking at again, or, conversely, what makes you want to say ‘no?' By the sound of it, the ones that don't work for you are the ones that might make other people think ‘oh, that's a beautiful landscape.' A good image I think, does not explain, it rather slightly destabilises; perhaps there is both attraction and rejection in it. The process to know new images takes time. The photographic residue of my experiences takes on its own new form, its own place. They are new entities. The images that stay, that hold up, are those that touch a deeper universal knowledge, I hope. Something that perhaps is not possible to explain. It is awesome to stand physically in a ‘beautiful landscape', but an image of a ‘beautiful landscape' often does not invite participation. The beauty can be thrown in your face and there it ends. It may seem a strange thing to say, but your photographs are not necessarily about vision. In Sequester, for example, a lot of what your eyes are doing on those pages is not recognising an image. The same is true of the exhibitions; it's something different. It's being drawn in, bodily, and confronted with this incredible darkness. As a viewer, you're engulfed in the landscape. I'm so pleased to hear that you experience the pictures in this way. Yes, our primary perception is firstly the bodily perception of the space around us; seeing comes after that. I relate to that very well: bodily consciousness connects us with the place, sensing the natural surroundings. I think that the darkness in the images touches the not-so-well-known or for some, even unsettling territories of our unconscious — areas that for me are on the boundary of beginning or ending, heaven or hell, life orAWOISKA VAN DER MOLEN is a Dutch visual artist, using photography as her main tool. In 2017 her work was shortlisted for the Deutsche Börse Photography Foundation Prize and she was the recipient of the Larry Sultan Photography Award. In 2019, Awoiska was shortlisted for the Prix Pictet, the global award in photography and sustainability. This exhibition with the theme ‘Hope' is touring worldwide until 2021.Opening portrait of Awoiska van der Molen by Anne Barlinckhoff. Images on pages 17 and 18 © Awoiska van der Molen, courtesy of the artist and Annet Gelink Gallery p.17 #563-8 from the publication The Living Mountain (Fw:Books, 2020) p.18 #545-16, unpublishedANNE BARLINCKHOFF currently lives and works between Europe and Africa. Her work has been exhibited in the USA, South Africa, Australia and across Europe. She has additionally been published at Magnum Photos, Der Greif, i-D, Vice, Dazed, Playboy and Vogue Italia. Anne was awarded the New Dutch Photography Talent art prize by GUP in 2013, and in 2016 she won the Dutch Design Talent, Best Graduates by Fontanel in Amsterdam the Netherlands with her video installation and book Dreams of Paradise.IN DEPTHARIELLA AÏSHA AZOULAY &On the Archive in21Stanley WolukauWanambwaPotential History: Unlearning Imperialism28THEME TEXTTHEME TEXT29Notes for a possible inventory by Elisa Medde32THEME TEXTline of this ever-changing tension. Whether confronting family and personal histories against the backdrop of national and community's narratives, re-composing invisibilities, addressing trauma or creating alternative narratives, dismantling structures and highlighting blind spots, all the contributions contained in this issue have one thing in common: they navigate the tension of addressing possible histories, drafting inventories, addressing repositories.  While I was deep in the making of the issue of Foam Magazine you are currently holding in your hands, I received an e-mail with a book suggestion. It was one of those moments in which you think instant karma really works (positively, for once), and the very welcome suggestion felt like an epiphany. The book was No Archive Will Restore You, written by Julietta Singh and published by punctum books, which opens with a quote — the true trigger of my epiphany. It is actually a quote of a quote, one that acted equally cathartically on her while reading something else: Edward Said's Orientalism, specifically. The quote is from Antonio Gramsci, with whom I am lucky enough to share the same island of origin, and it comes from his Prison Notebooks. The quote reads: ‘The starting-point of critical elaboration is the consciousness of what one really is, and is knowing thyself” as a product of the historical process to date which has deposited in you an infinity of traces, without leaving an inventory. The first thing to do is to make such an inventory.' Then Singh follows: ‘An infinite history of traces without an inventory! An endless collection of oneself that is impossible to gather… I had no concrete idea of what it meant, or what currency it had in my own life, but I knew how it felt. It felt as though the broken thing I was might be restored, and it felt like an embodied idea I would never stop desiring for myself and for the world.' The idea of an inventory, a reasoned list of the infinity of traces deposited by all possible histories! Maybe, the mere intuition of the possibility of being able to elaborate such abstract thought is what drives that fever, burning desire, impulse into engaging with the archive — and its many identities. An ever-changing tension, an unreachable knowledge. ELISA MEDDE is a photography editor, curator and writer. With a background in Art History, Iconology and Photographic Studies, her research reflects on the relationship between image, communication and power structures. She has been nominator for the Prix Elysée, The Leica Oskar Barnack Award and MAST Foundation for Photography Grant, amongst others. Elisa has chaired numerous juries and, next to writing regularly for Foam Magazine, has written for Something We Africans Got, Vogue Italia  L'Uomo Vogue, YET Magazine and other publications. Elisa is Editor-in-Chief of Foam Magazine, Amsterdam.SOFIA YALA RODRIGUES Playing with Visual Fragments33LR (62dpi)48SOFIA YALA RODRIGUESof her own body beyond the identity of family, in search for new ways of framing the archive with its unfinished fragments, of existence in the making. A genealogical body of movement beyond geographical borders and predesigned routes, this is what she proposes. Influenced by the works of Lorna Simpson, Délio Jasse, Dionne Lee and Carrie Mae Weems, Yala Rodrigues proposes new itineraries through the archive as a contemporary art form. Original ways of composing the fragments, of gazing at Black bodies, Black memories and genealogies — a new mode of looking at herself de-centred from the white gaze.Building new landscapes of meaning and heritage, turning the archive into an instrument, not only of remembrance but of annihilation of the colonial (gaze), is a tool for freedom. It is in this space of agency that the artist leaves us to wonder what new languages of the archival art forms are about to emerge: from different memory practices to new signifiers and symbols that respond to the future and emancipation of the Black body by de-framing the colonial. — Text by Ana Raquel ManhiqueAll images from the series Playing with Visual Fragments © Sofia Yala Rodrigues, courtesy of the artist SOFIA YALA RODRIGUES has a Visual Anthropology background and is currently earning her MA in Film and Photography at the University of Derby. The core of her practice comes out of curiosity about her family archives, history, migration, identity and transatlantic realities, and part of her present work can be attributed to experimentation. Sofia entitled her practice as a hybrid, as she sees it as an ongoing work that is never finished, instead, always in renovation. Revisiting the past includes leaving a margin for more reflection in the future without compromising the essence of the present. ANA RAQUEL MANHIQUE holds a BA in Anthropology and is currently earning her MA in Territorial Management and Urban Studies with a research on the presence of Black women in Lisbon's urban space. As she travelled around the world, she crossed borders and barriers that awakened her interest in the intersections between notions and concepts of culture composing and deconstructing Black women's bodies in the spaces and geographies that define us humans. Daughter to Mozambican parents, Ana Raquel was born in Lisbon in 1991.GIOVANNA PETROCCHI Modular Artefacts, Mammoth Remains49GIOVANNA PETROCCHIcharacter of the work. In fact, however, she does precisely the opposite. In her collages she portrays a fake narrative, an imaginary story that lies somewhere between the past, the present and the future. She puts it like this. ‘There is a sense of mysteriousness evoked by ancient cultures, their traditions, the use of objects and tools, their relationship with animals, that I find very fascinating […]. This leaves much space to the imagination and that's why I am so drawn to them.' (e-mail correspondence, 9 May 2021) Nevertheless, Petrocchi's fake narrative seems to come closer to the reality of archaeology than the artificial classification by period and geographical location that is applied to museum collections. An observation by Polish journalist and writer Ryszard Kapuściński (1932– 2007) perhaps helps to make clear what I mean. ‘In the world of our own day there are no longer any cultures that exist separately, distant from everything else, in isolation. Nowadays every culture, although each to a different extent, is influenced, hybridized, marked by eclecticism. All cultural currents now meet in the great delta of modern civilization, where because of modern means of communication that encompass and connect the planet, they interpenetrate and combine together before, in a single channel, pouring into the new era to form the coming cosmic civilization.' (Ryszard Kapuściński, Lapidarium. Observaties vaneen wereldreiziger 1980-2000. Amsterdam, De Arbeiderspers, 2003, p. 95, originally published as Lapidaria by Czytelnik, Warsaw. Quote translated via the Dutch.) Archaeological fragments are continually in flux; they transcend their own time, are distributed to other regions, given new functions, reused, destroyed by iconoclasts and reconstructed by guardians of heritage. They therefore become part of a story that is broader and more continuous than anything represented in their museological pigeon-holes. The entities presented by Petrocchi do not belong to a specific time or place either. In most cases they float against a white or black background in which the notion of scale has been abandoned. The scale itself remains, but not its relationship to the object. Her collages have become free spaces made up of real data concerning the artefacts along with new visual information. They are not accompanied by captions to guide the viewer in a specific direction. They poke fun at the historical, linear and scientific perspective and in doing so contain a promise to tell a different story, that of a Universal Collection of artefacts linked together across time and space in which cultures mix, just as the artefacts themselves do. — Text by Kim KnoppersAll images from the series Modular Artefacts, Mammoth Remains © Giovanna Petrocchi, courtesy of the artist GIOVANNA PETROCCHI is an Italian photographer based between London and Rome. She graduated from the London College of Communication with a BA in Photography in 2015 and she completed her MA in Visual Arts at Camberwell College of Arts, London in 2019. She was selected as a winner of the Lens Culture Emerging Talent Award in 2017 and she won the Photographers' Gallery New Talent award in 2019. She has been recently nominated by CAMERA — Centro Italiano per la Fotografia to be part of the 2020 FUTURES photography talents. Recent exhibitions include ‘With Monochrome Eyes' at the Borough Road Gallery, London, the Athens Photo Festival at the Benaki Museum, Athens and ‘Contemporary Mythologies' at Tenuta di Monteverdi, Grosseto, Italy (from 12th June). KIM KNOPPERS is an independent curator and art historian graduated from University of Amsterdam. She has been curator at Foam between 2010 and 2021. Since 2011, she has worked on group and solo exhibitions, most recently Lorenzo Vitturi's Materia Impura, Morpher III by Kévin Bray, Extendable Ears by Sheng-Wen Lo and Afropean: Travels in Black Europe by Johny Pitts. She has contributed to various magazines including Foam Magazine, Unseen and Aperture and has written catalogue texts for Jaya Pelupessy and Sylvain CouzinetJacques, amongst others. She is a lecturer on the MA Photography at ECAL in Lausanne where she initiated and developed the course Do Not Disturb— Curating in Progress.Thank you, Kim56PACIFICO SILANO The Ways to Love a Man5772PACIFICO SILANOmilitarism Eisenhower warned of in his farewell address. Silano, however, proposes an alternative set of reflections and entreaties, seeking symbology in the queer nationalism borne of the same forebears his images circle. Silano draws on an archive representing a different set of codes than Rosenquist's, which had its roots in Joseph Campbell. Silano's are the codes of Kenneth Anger — and can only be accessed through the queer gaze. In his seminal descriptions of queer art practices, José Esteban Muñoz is a solid example of the trouble academia has when coping with queer representation. He spent roughly two decades arguing that ephemera constituted a form of queer evidence, and that the queer archive was, by necessity, distinct from the types of material corroboration archives generally look towards. That he needed to roll his argument all the way into the 21st century in Cruising Utopia2 is somewhat startling,given that most of us carried computers in our pockets by then, which are awash in a steady stream of archival evidence of queerness. Outside the walls of the academy queer proof is plainly apparent, and Pacifico Silano is throwing his hat in Muñoz's ring. After all, it is the 21st century, isn't it? — Text by Avram Finkelstein1 David Deitcher, Dear Friends: American Photographs of Men Together, 18401918 (New York; Harry N. Abrams, Inc., 2001) 2 José Esteban Muñoz, Cruising Utopia: The Then and There of Queer Futurity (New York; NYU Press, 2009)All images from the series The Ways to Love a Man © Pacifico Silano, courtesy of the artist and Assembly PACIFICO SILANO is a lens-based artist whose work is an exploration of print culture, the circulation of imagery and LGBTQ+ identity. He received his MFA in Photography, Video & Related Media from the School of Visual Arts. His work has been included in group exhibitions at the Bronx Museum; Tacoma Art Museum; Oude Kerk, Amsterdam; Museo Universitario del Chopo, Mexico City, and is currently part of the group exhibition, Fantasy America, which opened at The Andy Warhol Museum in Pittsburgh, Pennsylvania in March 2021. Awards include the Aaron Siskind Foundation Fellowship, NYFA Fellowship in Photography, and being a finalist for the Aperture Foundation Portfolio Prize. His work is in the permanent collection of The Museum of Modern Art. He has had solo shows at Baxter ST@CCNY, The Bronx Museum of the Arts Block Gallery, Rubber-Factory, Stellar Projects, NYC, and Fragment Gallery, Moscow. Reviews of his work have appeared in The New Yorker, Artforum, and The Washington Post. AVRAM FINKELSTEIN is an artist, writer, and a founding member of the Silence=Death and Gran Fury collectives. His work has shown at MoMA, the Whitney Museum, the New Museum, and the Metropolitan Museum, and is in the permanent collections of MoMA, the Whitney, the New Museum, the Metropolitan Museum, the Victoria and Albert Museum, and the Brooklyn Museum. He is featured in the Oral History collection at the Smithsonian Archives of American Art, and his book for UC Press, After Silence: A History of AIDS Through its Images was nominated for an International Center Of Photography 2018 Infinity Award in Critical Writing and Research.KAI YOKOYAMA The day you were born, I wasn't born yet73My grandfather became deaf after he came back from the Pacific War.Little is known about where my grandfather was and what he did during the war in 1944-1945. He didn't tell his family anything about it.88KAI YOKOYAMAwere born, I wasn't born yet is taken from an untitled, undated and unfinished short poem by Chuya Nakahara (1907–1937), a prominent poet of Japanese modern literature. The full text is as follows. ‘The day you were born, I wasn't born yet. I found a train ticket from the pocket of old cloth, which became invalid because of the stopover. I guess the day which I was born […]' The poem, like a scribble, is said to be written about his lover but the whole text is ambiguous and can be interpreted in various ways. This ambiguity allows him to set out an inner journey through the archive and his attempt to step into his own path during this period of anxiety and uncertainty. Born out of a period of global anxiety, his poetic vision will surely resonate with others' experiences. —Text by Mika KobayashiAll images from the series The day you were born, I wasn't born yet © Kai Yokoyama, courtesy of the artist KAI YOKOYAMA is a photographer based in Tokyo, Japan. His work has been featured in publications such as The Washington Post and Marie Claire Italy. Yokoyama's work has been awarded or shortlisted at KLPA (2019), PX3 (2019, 2020), IPA (2020), Athens Photo Festival (2020), and he won first place in the LensCultureJourneys series category (2020). In 2020, he participates in #ICPConcerned exhibition at ICP, Home Museum exhibition at LagosPhoto, and the online exhibition at PHmuseum. He receives Carolyn Drake's mentorship programme in Magnum Photos this year. Kai is a member of Native Agency and Diversify Photo. MIKA KOBAYASHI is a Japanese critic and lecturer on photography and gender studies. She has contributed to various magazines and publications inside and outside of Japan. She worked at ICP as Asian Cultural Council grantee from 2007-2008, and at SFMoMA as Patterson Fellow in 2008. From 2010 to 2019, Mika was a guest researcher at The National Museum of Modern Art, Tokyo.FOCUS ESSAY89THERE IS ALWAYS MORE: SEXUALITY'S ARCHIVES ANJALI ARONDEKAR90THERE IS ALWAYS MORECover page of the Samaj Sudharak, July, 1940 Source: Gomantak Maratha Samaj Archives, Mumbai, IndiaIf at first glance, the ethical responsibility of an archive is to host wor(l)ds that may otherwise be lost, in the end, its central obligation may be to provide wor(l)ds that may never have left.FOCUS ESSAY97Samaj, archival surplus repeats itself in a historical calculus, so minor, so unspectacular, that it does not appear to excite historical recuperation. As a historian colleague once asked me with great exasperation, why is this not just a failed archive? If it has not been read, and is so evidently available, surely, there must be nothing there. The Samaj's provenance thus marks both archival abundance and historical minoritisation: it is at once removed from the archival mandates that govern minoritised histories, even as it is intimately acquainted with them and their most subtle efforts on historywriting. Let us imagine such a history together.1 Instead of providing a more conventional listing of the many excellent monographs and special issues published in the past decade on newfound archives of sexuality in Asia, Latin America, Africa, Middle East, I want to turn to a slightly different exemplar of the explosion of such archives. I recently served as a regional editor for Asia for a new encyclopedia on LGBQTI+ histories of sexuality. Together, the six editors of the encyclopedia reviewed over 600 entries on new archival research on queer history across the world, with topics ranging from more familiar topics such as sodomy and human rights, to more unfamiliar ones on issues such as queer workingclass bars and homosexual blackmail. See Anjali Arondekar, Associate Editor (Asia), and Howard Chiang, Chief Editor, Global Encyclopedia of Lesbian, Gay, Bisexual, Transgender, and Queer (LGBTQ) History (Farmington Hills, MI: Charles Scribner's Sons, 2019). 2 See Elizabeth Povinelli, Economies of Abandonment: Social Belonging and Endurance in Late Liberalism (Durham: Duke University Press, 2011) , 3-43 For more historical detail on the emergence of the Samaj, see Arondekar, ‘Subject to Sex: A Small History of the Gomantak Maratha Samaj' in South Asian Feminisms, ed. Ania Loomba and Ritty A. Lukose (Durham and London: Duke University Press, 2012). Other texts that gloss briefly on the history of the Samaj include Bhobe, Kalavant Gomantak, Khedekar, Gomantak Lok Kala and Satoshkar, Gomantak Prakriti Ani Sanskriti. 4 The bulk of the archives are housed at the Gomantak Maratha Samaj Society building in Mumbai, India. In 2004, the Samaj offices were moved from Gomantak Maratha Samaj Sadan, 345 V.P. Road, Bombay 400004 to Sitladevi Co-op. Housing Society Ltd., 7-16B Wing, D. N. Nagar, New Link Road, Andheri (W), Mumbai 400053. A partial archive can be found at the Gomantak Maratha Samaj, Dayanand Smriti, Swami Vivekanand Marg, Panaji 403001, Goa.ANJALI ARONDEKAR is Associate Professor of Feminist Studies, and Founding Co-Director, Center for South Asian Studies, at the University of California, Santa Cruz. Her research engages the poetics and politics of sexuality, caste, colonialism and historiography, with a focus on South Asia. She is the author of For the Record: On Sexuality and the Colonial Archive in India (Duke University Press, 2009, Orient Blackswan, India, 2010), winner of the Alan Bray Memorial Book Award for best book in lesbian, gay, or queer studies in literature and cultural studies, Modern Language Association (MLA), 2010. Her second book, Abundance: Sexuality, Historiography, Geopolitics (forthcoming Duke University Press), grows out of her interest in the figurations of sexuality, ethics and collectivity in colonial British and Portuguese India. The Focus Essay ‘There is Always More' in Foam Magazine is an excerpt from Anjali's second book.98BADARÖH, LAURIANO & RIBEIROIN CONVERSATIONON THE ETHICS AND CONTRADICTIONS OF THE ARCHIVE HENRI BADARÖH, CAROLLINA LAURIANO & STEPHANIE RIBEIRO99100BADARÖH, LAURIANO & RIBEIROFernando Banzi's series Types brings colour to a sombre historical archive. Instigated by the results, Foam Magazine invited Carollina Lauriano and Stephanie Ribeiro to talk about the remediation of the archival image, the handling of traumatic images and contemporary Black visual culture.In 1866, German-Brazilian photographer Alberto Henschel (1827–1882) immigrated to Brazil, where he became one of the most successful photographers of the period. Henschel photographed subjects ranging from the Brazilian monarchy and tradespeople to the extravagant 19th-century middle class. However, Henschel's portraits of the African diaspora in Brazil — free and enslaved — are probably amongst his most famous works. Carte de visite style, these photographs are praised by many for the presumably respectful portrayal of a people who, back then, were mostly exoticised or objectified. In the public domain, these images were then found by photojournalist Fernando Banzi, whose colourisation process became the project Types. Banzi attempts to bring these portraits to the present day by using strong colours, traditional garments and a mélange of skin tones. HENRI BADARÖH: We are dealing here with a set of photographs in which some were supposedly used by slave owners for the trade of slaves. I would love to know how you both felt first looking at Banzi's interventions on these portraits. How do we look at such a loaded archive today?CAROLLINA LAURIANO: I think Banzi's work permeates a very interesting place for me. Similar to the work of artist Aline Motta, there is a strong relationship with fabulation. Motta, a woman of colour, goes on a quest to retrieve her history. As an exercise of imagination, she sets out to discover her origins starting with just her great-grandmother's name, the only information she possesses. She uses DNA test results and researches into the culture and customs of her African ancestors to fabulate the story of her great-grandmother that, inevitably, ends up writing Motta's own story. I think that through fabulation, personal stories connect with other people's stories, especially when these stories have voids. HB: Voids created by years and years of Black history erasure, right? It makes me think about how I don't even know my great-grandmother's full name, or how Henschel's portraits only identify those portrayed as ‘types' or ‘black boy, black woman' — nameless people with no sense of humanity. CL: In Brazil, your ancestry, your provenance — the possession of a passport that allows you to transit fromIN CONVERSATION105106BADARÖH, LAURIANO & RIBEIRO112BADARÖH, LAURIANO & RIBEIROa narrative per se. For him, at that moment, it was an exercise of creativity, channelling images taken from his everyday life into the archive. CL: I believe everything stems from a notion of ‘official history', which is told from the perspective of the winner. This said winner draws conclusions about others. So ethnic, racial, and indigenous questions are seen in a reductive way. In a lazy process, what is passed on about those otherised becomes more and more limited. In this system, every African is tribal, every Native American is cannibal. The reaffirmation of these images is aggressive. To want to talk about anything in the world should be possible, yes. Existence is a heavy burden, so sometimes we need to be able to wander away from our identity, and not only ruminate on reaffirming ourselves. I think we are going towards these principles with artists like Rosana Paulino, or my brother Jaime Lauriano, who use these archives and materials to talk about their own history without giving too much space to fallacious ideas of racial democracy, catechised and domesticated bodies. This new generation of artists, through their practice, is thinking of new possibilities for the world without shying away from the acknowledgement of white violence — only this way we can preserve our memory. HB: And truly think of possible futures, isn't it? CL: For me, it is important to remember these people's individuality. They have unique needs, desires and visions. We cannot any longer talk about universality — there is multiplicity. Now, we shall talk not about thinking outside the box, but rather, down with the box altogether. Let's think about other cosmovisions, other cosmopolitics, that depart from the so-called white, western, Eurocentric ones.All images (except as noted below) from the series Types © Fernando Banzi, courtesy of the artist p.106–107 Alberto Henschel  Acervo Instituto Moreira Salles STEPHANIE RIBEIRO is an architect, writer, presenter and Black feminist. She has had essays on several portals, including ArchDaily, Vitruvius, and Casa Vogue. In 2018, she was one of the Brazilian recipients of the award Most Influential People of African Descent (MIPAD). In 2020, she was on Forbes' Under 30 list in the Design, Architecture and Urbanism category and she became the presenter of the programme Decora-se (Decora) on cable channel GNT. Stephanie believes in art, design, and culture as fundamental to intersectional Black activism and the social responsibility of the architect for a more just and egalitarian society. She is one of the authors of the book Feminist Explosion: Art, Culture, Politics and University, winner of the Rio Award. CAROLLINA LAURIANO has a degree in Social Communication and an extension in Research (Art, Design and Fashion) from Central Saint Martins – UAL, and she has been working as an independent curator since 2017. Between 2018 and 2020, Carollina joined the curatorship and management of Ateliê397. Amongst her main projects are the exhibitions O Corpo Além do Corpo, which discusses female transsexuality and seeks the role of new bodies in society and A Noite Jamais Adormecerá nos Olhos Nossos, which brought together seventeen racialised artists at São Paulo's Galeria Baró to present and discuss the production of dissident bodies within the art market. Carollina is co-curator of the 13th Mercosul Biennial, which will take place in Porto Alegre in 2022. FERNANDO BANZI is a member of Goma Oficina Association and teacher of photography at Senac São Miguel Paulista. Types was selected for the programme New Photography 2018 at São Paulo's Museum of Image and Sound – MIS, and in the same year, it was presented at PHotoESPAÑA, Valongo International Image Festival, and SOLAR Foto Festival. His series Mask has been part of the Auckland Photography Festival in 2020, curated by Format. He has selfpublished the photo books Hecho en Mexico, Taciturnidade, and Omipipa. In 2019, Types was published by Editions Bressard. Fernando lives and works in São Paulo.KELANI ABASS Casing History113126KELANI ABASSshared. The physical process of making something permanent and readable echoes throughout Abass' work and his decision to frame history in this way. Or rather, reframe history. Abass is showing us an iteration of an archive. An archive that has been assembled and shaped by one set of hands and eyes with their own initial narrative, and is then shared with audiences to make their own associations between the images. The portability of these structures is a curious element to explore. What is enabled when you can package and take your history with you wherever you go? Is there something to be gained from comparing the past as it has been written while standing in the present? Like an adventurer witha historical map navigating the current day, the cased histories are an indicator of what once was, while the future is yet to be printed or determined. There is an unlimited number of connections which can be made between the individual and the whole, mirroring the endless exchanges that take place between people and their communities. The sculptural and structural element of storytelling laid out so neatly in these cases lends itself to forming and building stories over and over again, while allowing us to impose a little order and imagination on the past, present, and future. — Text by Mariama AttahAll images from the series Casing History © Kelani Abass, courtesy of the artist and Nil Gallery KELANI ABASS is an artist currently living and working in Nigeria. He studied painting at the Yaba College of Technology, Lagos, graduating in 2007 and uses a variety of archival methods and materials in his work, which is represented by Nil Gallery. Kelani probes the shared history and character of man and machines , while commenting on the alienation of the worker and life in West Africa through a wide range of media. In doing so, he depicts an interpretation of the past, present and future for those from his community. MARIAMA ATTAH is a photography curator and lecturer with a particular interest in overlooked visual histories, and in using photography and visual culture to amplify under and misrepresented voices. Mariama is curator of Open Eye Gallery, Liverpool. She was previously Assistant Editor of Foam Magazine. Prior to this, she was curator of Photoworks, where she was responsible for developing and curating programs and events including Brighton Photo Biennial and was commissioning and managing editor of the yearly magazine Photoworks Annual.DÉLIO JASSE Arquivo Urbano  Sem Valor127136 Arquivo Urbano (2018) is composed of a series of prints on ortho film, in which Jasse reworks his own photographic archive and juxtaposes negative and positive shots of noted landmarks in Luanda. A hybrid work, this series encompasses Luanda's colonial Portuguese buildings, its modernist architecture promoted by Vasco Vieira da Costa and Fernão Lopes Simões de Carvalho between the 1940s and 1960s, and the new, international corporate style propelled by globalisation — embracing their unruly appeal. Working with film, black and white images, positives and negatives, Jasse's work points to the past butDÉLIO JASSE additionally, the nature of the photographic process to create the images alludes to a utopian architectural future for one of the fastest expanding cities on the African continent. He says: ‘Part of my interest is in exposing these alternative processes and in making the various stages physical”, and therefore visible. The image ends up being neither univocal nor homogeneous; each layer can be viewed individually or jointly'. As often with Jasse's work, the layered, complex process for making the work is as important as the finished image itself. — Text by Henri BadaröhAll images from the series Arquivo Urbano  Sem Valor © Délio Jasse, courtesy of the artist DÉLIO JASSE uses analogue processes to subvert the reproducibility of the photographic medium, creating subtle variants and interventions using painting, liquid-light, gold-leafing and collage. He often interweaves found images with clues from past lives (found passport photos, family albums) to draw links between photography — in particular the concept of the ‘latent image' — and memory and Délio is known for experimenting with analogue photographic printing processes, including platinum and early printing processes such as ‘Van Dyke Brown', as well as developing his own printing techniques. Recent exhibitions include Arquivo Urbano, Tiwani Contemporary, London (2019) and The Other Chapter, PHotoESPAÑA (2019). Délio lives and works in Milan. HENRI BADARÖH is a Brazilian visual artist and writer. He has a BA in Photography and an MA in Film and Photographic Studies. Through queer, decolonial and intersectional approaches, Henri focuses on the dialogues between photography and film, analogue creative practices and new media, image and the written word, Europe and America. He frequently collaborates with multidisciplinary artists on publications and performances. Henri is Assistant Editor of Foam Magazine.TAVARES STRACHAN Encyclopedia of Invisibility137152TAVARES STRACHANcould be seen as a nod to another of his artworks, ENOCH (2018): a satellite containing a 24-carat gold bust dedicated to Robert Henry Lawrence Jr, the first African-American astronaut to be selected for any national space program, who died in a supersonic jet crash before ever going to space. Strachan's satellite, which was created in collaboration with LACMA's Art + Technology Lab, was launched on a SpaceX Falcon 9 and will continue to circle the Earth for seven years, with the astronaut surely being acknowledged in the Encyclopedia of Invisibility. Strachan describes his practice as a way of long thinking, considering his various projects as ‘a series of gestures', ultimately forming one work. As such, the Encyclopedia of Invisibility could be considered the artist's sketchbook or drawing table from which new artworks endlessly emerge. With ENOCH, Strachan honours Lawrence Jr by ultimately placing him in the history of space travel. At the same time, Lawrence Jr's sculptural likeness hovers in space, placing him yet again far out of sight. As such, like Encyclopedia of Invisibility, ENOCH is a reminder of whatwe are not seeing. ‘So much education all over the world is based on the idea that we're looking for things that we've already found', Strachan expressed in conversation with Charlotte Burns in the podcast In Other Words. ‘How do we approach the creative challenges of the future by thinking about the things that are not being studied, the things that are invisible, the characters that don't make it into the books, the people that don't make it into the halls of history? How do we create platforms where we can actually think about those ideas, those people, as a way of forging a more creative premise towards education?' After having been largely ignored for decades, Matthew Henson was admitted as an honorary member to the prestigious ‘Explorers Club' in New York. With children at the centre of his target audience, Strachan takes up Henson as a role model to create his own version of the Explorers Club, inspiring younger generations to imagine potential histories. — Text by Mirjam KooimanAll images from the series EIGHTEEN NINETY, 2020. Approx 1,354 panels, UV ink, vinyl, graphite, oil stick, mylar, collage, acrylic, sintra. 11 × 8 × 2 18 in. (27.9 × 20.3 × 5.4 cm) each © Tavares Strachan, courtesy of the artist and Marian Goodman Gallery TAVARES STRACHAN's artistic practice activates the intersections of art, science, and politics, offering us uniquely synthesised points of view on the cultural dynamics of scientific knowledge. He works in collaboration with organisations and institutions across disciplines, to promote a broader and more inclusive understanding of the work of both artists, scientists, and the systems and support networks that make their work possible. He received a BFA in Glass from the Rhode Island School of Design in 2003 and an MFA in Sculpture from Yale University in 2006. MIRJAM KOOIMAN is a curator at Foam, where she has worked on various shows including Ai Weiwei — #Safe Passage, Dominic Hawgood — Casting Out The Self as well as the Foam Talent exhibitions of 2015, 2016 and 2020. She holds a BA in Art History and MA in Curating from the University of Amsterdam, with a special interest in postcolonial approaches in the arts. She is currently researching the topic of photography related to digital and virtual realities, and is particularly interested in machine vision and other non-human perspectives. She previously served as a curator-in-training at the photography collection of Amsterdam's Stedelijk Museum.FOCUS ESSAY153LIKE A HUNTER VENTURING OUT ON A SAFARI RONA SELAChalil Rissas (Khalil Rassas) , Demonstration of Palestinian Women's Organisation in the Old city of Jerusalem, undated. Written on the placard: ‘No to relations and no to negotiations, the mandate will be null"
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