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Filmfestival AFRIKAMERA – AKTUELLES KINO AUS AFRIKA richtet von 2024 bis 2027 mit den vier Schwerpunkten BELIEVE * CHANGE * REFLECT und CREATE den Blick auf vielfältige, inspirierende, wegweisende und mitunter widersprüchliche Sichtweisen auf zentrale gesellschaftliche und politische Fragen der Gegenwart und Zukunft des afrikanischen Kontinents. Im Zentrum…","- ÜBER UNS - FESTIVAL - TEAM - PARTNER - KONTAKT - ARCHIV 2007 – 2024 - AFRIKAMERA 2025 - PROGRAMM - KALENDARIUM - SPOTLIGHT ON WINDHOEK - NETWORKING\u002F DISKURS - TICKETS - PRESSE - NEWSLETTER deen AFRIKAMERA 2023 - ÜBER UNS - FESTIVAL - TEAM - PARTNER - KONTAKT - ARCHIV 2007 – 2024 - AFRIKAMERA 2025 - PROGRAMM - KALENDARIUM - SPOTLIGHT ON WINDHOEK - NETWORKING\u002F DISKURS - TICKETS - PRESSE - NEWSLETTER - - deen AFRIKAMERA 2025 CHANGE 11 – 16 NOV 2025 Das Filmfestival AFRIKAMERA – AKTUELLES KINO AUS AFRIKA richtet von 2024 bis 2027 mit den vier Schwerpunkten BELIEVE \\ CHANGE \\ REFLECT und CREATE den Blick auf vielfältige, inspirierende, wegweisende und mitunter widersprüchliche Sichtweisen auf zentrale gesellschaftliche und politische Fragen der Gegenwart und Zukunft des afrikanischen Kontinents. Im Zentrum der Edition CHANGE stehen neben aktuellen Produktionen Filme, die gängige Geschlechterrollen und deren strukturelle und soziale Auswirkungen thematisieren, bestehende Machtverhältnisse sowie etablierte Normen hinterfragen und mit dem Mittel des Kinos daran arbeiten, gesellschaftlichen Wandel zu bewirken. Dabei liegt der Schwerpunkt auf Filmen von weiblichen\u002F weiblich gelesenen Regisseur\\innen. PROMIS LE CIEL (Tunesien\u002F Frankreich\u002F Katar 2025) (11.11.) von Erige Sehiri, der das Festival als ARSENAL ON LOCATION im City Kino Wedding eröffnet, behandelt die Themen Mutterschaft, Unabhängigkeit, Selbstbestimmung und Glauben und setzt sie in Bezug zum Elend der Geflüchteten und ihren Kampf ums Überleben – erzählt aus einer weiblichen nordafrikanischen Perspektive. MIKOKO (Togo 2025) (14.11.) von Angela Aquereburu Rabatel erinnert daran, dass der Kampf für die Rechte der Frauen sich nicht auf einen einzigen Tag der Mobilisierung beschränkt, sondern ein permanenter Kampf sein muss. TIMPI TAMPA (Senegal 2024) (15.11.), das Spielfilmdebüt vonAdama Bineta Sow, hinterfragt gesundheitsschädliche Trends von in vielen afrikanischen Ländern verbreiteten Schönheitsidealen wie der freiwilligen Depigmentierung mit Chemikalien und den damit verbundenen psychischen und physischen Folgen – ein afrofeministisches Plädoyer für weibliche Selbstliebe, Identität und Widerstandsfähigkeit. HANAMI von Denise Fernandes (Kap Verde\u002F Schweiz\u002F Portugal 2024) (15.11.) wiederum ist eine eindrückliche „Coming of Age“- Geschichte über Liebe, Fürsorge und postnatale Depression und gibt bewegende Einblicke in die Poesie des Alltagslebens und den Spiritualismus auf den Kapverden. In MAMBAR PIERRETTE (Kamerun\u002F Belgien 2023) (16.11.) nimmt die Regisseurin Rosine Mbakam das Publikum mit in den prekären Alltag der Schneiderin Mambar Pierette in Douala und zeichnet zugleich ein ermutigendes Dokument weiblicher Selbstermächtigung und der Kraft der Gemeinschaft entgegen aller Widrigkeiten und sozioökonomischer Not. Daneben gibt es wie immer Filmhighlights zu entdecken, die auf großen internationalen Festivals Premiere feierten und prämiert wurden – in diesem Jahr mit einem besonderen Fokus auf aktuelle Filme aus Nigeria. Im Rahmen des Jubiläumsprogramms zu „25 Jahre Städtepartnerschaft Windhoek – Berlin“ präsentiert AFRIKAMERA im Nachgang der Edition CHANGE ein umfassendes Programm mit dem Titel SPOTLIGHT ON WINDHOEK (19.11.) im Sinema Transtopia. Das gesamte Programm von AFRIKAMERA 2025 findet sich hier. - Impressum - Cookie–Richtlinie - Datenschutzerklärung - Haftungsausschluss - Facebook - Instagram © AFRIKAMERA 2025. 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The website serves as a digital hub for cultural exchange, providing information on upcoming festival editions, film lineups, and thematic focuses such as 'Change,' 'Believe,' and 'Reflect.' It targets cinephiles, cultural enthusiasts, and the African diaspora, offering a curated window into the diverse political and social landscapes of the continent through the lens of modern filmmaking.\n\nThe visual identity is bold, cinematic, and unapologetically modern. Utilizing high-contrast imagery, dramatic lighting, and a striking palette of deep shadows against vibrant, warm tones, the design evokes the atmosphere of a high-end film production. The use of oversized, heavy typography—specifically the 'CHANGE' graphic—creates a sense of urgency and impact, while the minimalist layout ensures that the powerful visual storytelling remains the primary focus.","Art & Culture",[30,33,470],"Vibrant \u002F Colorful",[],[473,342,473,473],"Futura",[331,316,317,475,476,318,477,478],"Slider Revolution","UNIX","WordPress Block Editor","WPML",[480,482,484,485],{"score":481,"category":138},70,{"score":483,"category":141},93,{"score":200,"category":144},{"score":242,"category":147},[487,488,489,490],{"score":259,"category":138},{"score":239,"category":141},{"score":200,"category":144},{"score":242,"category":147},[162,492,158,493],"brown","yellow","Website: Afrikamera. Page: Homepage. Page type: Home \u002F Landing Page. Page title: AFRIKAMERA 2025 – CHANGE. Page description: AFRIKAMERA 2025CHANGE11 – 16 NOV 2025 Das Filmfestival AFRIKAMERA – AKTUELLES KINO AUS AFRIKA richtet von 2024 bis 2027 mit den vier Schwerpunkten BELIEVE * CHANGE * REFLECT und CREATE den Blick auf vielfältige, inspirierende, wegweisende und mitunter widersprüchliche Sichtweisen auf zentrale gesellschaftliche und politische Fragen der Gegenwart und Zukunft des afrikanischen Kontinents. Im Zentrum…. Page content: - ÜBER UNS - FESTIVAL - TEAM - PARTNER - KONTAKT - ARCHIV 2007 – 2024 - AFRIKAMERA 2025 - PROGRAMM - KALENDARIUM - SPOTLIGHT ON WINDHOEK - NETWORKING\u002F DISKURS - TICKETS - PRESSE - NEWSLETTER deen AFRIKAMERA 2023 - ÜBER UNS - FESTIVAL - TEAM - PARTNER - KONTAKT - ARCHIV 2007 – 2024 - AFRIKAMERA 2025 - PROGRAMM - KALENDARIUM - SPOTLIGHT ON WINDHOEK - NETWORKING\u002F DISKURS - TICKETS - PRESSE - NEWSLETTER - - deen AFRIKAMERA 2025 CHANGE 11 – 16 NOV 2025 Das Filmfestival AFRIKAMERA – AKTUELLES KINO AUS AFRIKA richtet von 2024 bis 2027 mit den vier Schwerpunkten BELIEVE \\ CHANGE \\ REFLECT und CREATE den Blick auf vielfältige, inspirierende, wegweisende und mitunter widersprüchliche Sichtweisen auf zentrale gesellschaftliche und politische Fragen der Gegenwart und Zukunft des afrikanischen Kontinents. Im Zentrum der Edition CHANGE stehen neben aktuellen Produktionen Filme, die gängige Geschlechterrollen und deren strukturelle und soziale Auswirkungen thematisieren, bestehende Machtverhältnisse sowie etablierte Normen hinterfragen und mit dem Mittel des Kinos daran arbeiten, gesellschaftlichen Wandel zu bewirken. Dabei liegt der Schwerpunkt auf Filmen von weiblichen\u002F weiblich gelesenen Regisseur\\innen. PROMIS LE CIEL (Tunesien\u002F Frankreich\u002F Katar 2025) (11.11.) von Erige Sehiri, der das Festival als ARSENAL ON LOCATION im City Kino Wedding eröffnet, behandelt die Themen Mutterschaft, Unabhängigkeit, Selbstbestimmung und Glauben und setzt sie in Bezug zum Elend der Geflüchteten und ihren Kampf ums Überleben – erzählt aus einer weiblichen nordafrikanischen Perspektive. MIKOKO (Togo 2025) (14.11.) von Angela Aquereburu Rabatel erinnert daran, dass der Kampf für die Rechte der Frauen sich nicht auf einen einzigen Tag der Mobilisierung beschränkt, sondern ein permanenter Kampf sein muss. TIMPI TAMPA (Senegal 2024) (15.11.), das Spielfilmdebüt vonAdama Bineta Sow, hinterfragt gesundheitsschädliche Trends von in vielen afrikanischen Ländern verbreiteten Schönheitsidealen wie der freiwilligen Depigmentierung mit Chemikalien und den damit verbundenen psychischen und physischen Folgen – ein afrofeministisches Plädoyer für weibliche Selbstliebe, Identität und Widerstandsfähigkeit. HANAMI von Denise Fernandes (Kap Verde\u002F Schweiz\u002F Portugal 2024) (15.11.) wiederum ist eine eindrückliche „Coming of Age“- Geschichte über Liebe, Fürsorge und postnatale Depression und gibt bewegende Einblicke in die Poesie des Alltagslebens und den Spiritualismus auf den Kapverden. In MAMBAR PIERRETTE (Kamerun\u002F Belgien 2023) (16.11.) nimmt die Regisseurin Rosine Mbakam das Publikum mit in den prekären Alltag der Schneiderin Mambar Pierette in Douala und zeichnet zugleich ein ermutigendes Dokument weiblicher Selbstermächtigung und der Kraft der Gemeinschaft entgegen aller Widrigkeiten und sozioökonomischer Not. Daneben gibt es wie immer Filmhighlights zu entdecken, die auf großen internationalen Festivals Premiere feierten und prämiert wurden – in diesem Jahr mit einem besonderen Fokus auf aktuelle Filme aus Nigeria. Im Rahmen des Jubiläumsprogramms zu „25 Jahre Städtepartnerschaft Windhoek – Berlin“ präsentiert AFRIKAMERA im Nachgang der Edition CHANGE ein umfassendes Programm mit dem Titel SPOTLIGHT ON WINDHOEK (19.11.) im Sinema Transtopia. Das gesamte Programm von AFRIKAMERA 2025 findet sich hier. - Impressum - Cookie–Richtlinie - Datenschutzerklärung - Haftungsausschluss - Facebook - Instagram © AFRIKAMERA 2025. All Rights Reserved - English - Deutsch. A Dark Mode, Typographic \u002F Big Type, Vibrant \u002F Colorful website in the Art & Culture industry. The overall color palette features Black, Brown, White, Yellow. The typography features Futura (Sans Serif), Roboto (Sans Serif), Futura (Sans Serif), Futura (Sans Serif). Built using Bootstrap, jQuery, PHP, Slider Revolution, UNIX, WordPress, WordPress Block Editor, WPML. AI description: Afrikamera is a sophisticated film festival platform dedicated to showcasing contemporary African cinema. The website serves as a digital hub for cultural exchange, providing information on upcoming festival editions, film lineups, and thematic focuses such as 'Change,' 'Believe,' and 'Reflect.' It targets cinephiles, cultural enthusiasts, and the African diaspora, offering a curated window into the diverse political and social landscapes of the continent through the lens of modern filmmaking. The visual identity is bold, cinematic, and unapologetically modern. Utilizing high-contrast imagery, dramatic lighting, and a striking palette of deep shadows against vibrant, warm tones, the design evokes the atmosphere of a high-end film production. The use of oversized, heavy typography—specifically the 'CHANGE' graphic—creates a sense of urgency and impact, while the minimalist layout ensures that the powerful visual storytelling remains the primary focus.",{"id":496,"website_id":497,"page_id":496,"name":498,"slug":499,"url":500,"website_name":498,"website_slug":499,"website_url":501,"result_url":500,"fetched_at":502,"score":243,"score_boost":389,"ai_score":242,"freshness_score":142,"scored_at":503,"page_name":39,"page_url":500,"page_title":498,"page_description":504,"page_content":505,"page_sort":389,"is_home":395,"is_home_rank":396,"page_type_id":397,"page_type_name":45,"cover":506,"cover_mobile":509,"cover_sequence":511,"translations":584,"industry":21,"styles":587,"credits":590,"font_families":591,"technologies":593,"pagespeed":594,"pagespeed_mobile":600,"buckets":606,"search_payload":609},"c6fdfb4a-9a82-45a0-9b34-f5e25fa7190e","e5d9b62b-dda0-4651-bca0-a8320fc9194f","Catalyst","catalyst-journal","https:\u002F\u002Fcatalyst-journal.com\u002F","https:\u002F\u002Fcatalyst-journal.com","2026-05-04T19:24:56.000Z","2026-05-23T19:21:48.000Z","A Journal of Theory and Strategy","Vol 9No 4 Winter Editorial - Ahmad al-Sholi Palestinian Dilemmas The Palestinian liberation struggle is constrained in a way that none other has been in the modern era. This essay describes the nested and mutually reinforcing dilemmas that make a military strategy very unlikely to succeed. Breaking out of this predicament will depend on combining mass organizing with international solidarity, much the same as other anti-colonial struggles around the world. - Ran Greenstein Palestine Solidarity in the South African Mirror Looking at the Palestine solidarity campaign through the prism of the South African anti-apartheid movement, this paper identifies strategies to put pressure on the Israeli regime from the outside. It identifies parallels between the two solidarity movements as well as crucial differences in context and discourse, with implications for political activism. - Eric Blanc The Lessons of “Sewer Socialism” Milwaukee's “sewer socialists” were the most successful socialist organization in US history, running city hall and organized labor for decades. Their experience demonstrates the viability of a nondoctrinaire Marxism that pairs electoral campaigning for reforms with organizing working-class power oriented toward social democracy and socialism. - Suzy Lee The Logic of Mass Deportation This article reviews the immigration policies of the second Trump administration’s first year, analyzing not only the well-publicized expansion of immigration enforcement but also the quieter moves to ease employers’ access to temporary migrant workers. Taken together, they suggest that the administration’s goal is not to end immigration altogether but rather to intensify the two-tier system of workers’ rights created by America’s immigration regime. - Adaner Usmani The Leviathan and the Left Law and Order Leviathan, David Garland’s sweeping study of mass incarceration in the United States, is both the best recent book on the subject and an ideal guide for students and activists. It shows unequivocally how the carceral state is anchored in the American political economy and helps chart a path toward its taming. Review View Articles 12.20.2023 - Benjamin Y. Fong How Can Workers Organize Against Capital Today? John Womack’s labor strategy is about workers finding the capacity to \"wound capital to make it yield anything.” But the massive challenge in today’s deindustrialized economy is locating where that leverage actually lies. 12.08.2023 - Michael Calderbank New Labour Totally Subordinated Labour to Capital Why was New Labour “intensely relaxed” about “people getting filthy rich”? The answer lies in a comprehensive analysis and critique of Labourism itself, which the new book Futures of Socialism fails to deliver. 11.09.2023 - Gary Mongiovi Austerity Is an Antidemocratic Strategy to Boost Capital Austerity policies have their roots in efforts by economic elites to crush working-class power after WWI and redistribute income upward. To reverse austerity, democratic control over economic policymaking is essential. 10.23.2023 - Simon Rennie How Did the Paris Commune Shape British Culture? British literary responses to the Paris Commune of 1871 expressed shock and fear about the collapse of the bourgeois social order. But they also registered sympathy with the Communards and their revolutionary aspirations. 10.13.2023 - Helen Lackner Culture Can’t Explain the Arab Revolts Violence and Representation in the Arab Uprising shows how the Arab revolts empowered democratic citizenship. But a focus on vibrant cultural creativity is no substitute for concrete analysis of political agency and economic structure. 9.03.2023 - David Johnson “Settler Colonialism” Can’t Fully Explain Our World Settler colonialism is often described as a singular, transnational mode of domination. 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This essay describes the nested and mutually reinforcing dilemmas that make a military strategy very unlikely to succeed. Breaking out of this predicament will depend on combining mass organizing with international solidarity, much the same as other anti-colonial struggles around the world. - Ran Greenstein Palestine Solidarity in the South African Mirror Looking at the Palestine solidarity campaign through the prism of the South African anti-apartheid movement, this paper identifies strategies to put pressure on the Israeli regime from the outside. It identifies parallels between the two solidarity movements as well as crucial differences in context and discourse, with implications for political activism. - Eric Blanc The Lessons of “Sewer Socialism” Milwaukee's “sewer socialists” were the most successful socialist organization in US history, running city hall and organized labor for decades. Their experience demonstrates the viability of a nondoctrinaire Marxism that pairs electoral campaigning for reforms with organizing working-class power oriented toward social democracy and socialism. - Suzy Lee The Logic of Mass Deportation This article reviews the immigration policies of the second Trump administration’s first year, analyzing not only the well-publicized expansion of immigration enforcement but also the quieter moves to ease employers’ access to temporary migrant workers. Taken together, they suggest that the administration’s goal is not to end immigration altogether but rather to intensify the two-tier system of workers’ rights created by America’s immigration regime. - Adaner Usmani The Leviathan and the Left Law and Order Leviathan, David Garland’s sweeping study of mass incarceration in the United States, is both the best recent book on the subject and an ideal guide for students and activists. It shows unequivocally how the carceral state is anchored in the American political economy and helps chart a path toward its taming. Review View Articles 12.20.2023 - Benjamin Y. Fong How Can Workers Organize Against Capital Today? John Womack’s labor strategy is about workers finding the capacity to \"wound capital to make it yield anything.” But the massive challenge in today’s deindustrialized economy is locating where that leverage actually lies. 12.08.2023 - Michael Calderbank New Labour Totally Subordinated Labour to Capital Why was New Labour “intensely relaxed” about “people getting filthy rich”? The answer lies in a comprehensive analysis and critique of Labourism itself, which the new book Futures of Socialism fails to deliver. 11.09.2023 - Gary Mongiovi Austerity Is an Antidemocratic Strategy to Boost Capital Austerity policies have their roots in efforts by economic elites to crush working-class power after WWI and redistribute income upward. To reverse austerity, democratic control over economic policymaking is essential. 10.23.2023 - Simon Rennie How Did the Paris Commune Shape British Culture? British literary responses to the Paris Commune of 1871 expressed shock and fear about the collapse of the bourgeois social order. But they also registered sympathy with the Communards and their revolutionary aspirations. 10.13.2023 - Helen Lackner Culture Can’t Explain the Arab Revolts Violence and Representation in the Arab Uprising shows how the Arab revolts empowered democratic citizenship. But a focus on vibrant cultural creativity is no substitute for concrete analysis of political agency and economic structure. 9.03.2023 - David Johnson “Settler Colonialism” Can’t Fully Explain Our World Settler colonialism is often described as a singular, transnational mode of domination. But it’s impossible to understand colonialism without political economy and material interests.. A Clean \u002F Minimalist, Monochrome \u002F Grayscale, Typographic \u002F Big Type website in the Entertainment & Media industry. The overall color palette features White, Red, Pink, Black, Gray. The typography features Atlas Grotesk (Sans Serif, Commercial Type). Built using reCAPTCHA, Stripe, Vue.js. AI description: Catalyst is a sophisticated intellectual journal dedicated to the intersection of theory and strategy. It serves as a platform for deep-dive essays, political analysis, and critical reviews, catering to an audience of academics, activists, and thinkers interested in systemic socio-political shifts. The publication positions itself as a rigorous medium for exploring complex global dilemmas through a structured, scholarly lens. The visual identity is striking and unapologetically editorial, utilizing a high-contrast, warm-toned palette that evokes a sense of urgency and historical gravity. The design leans heavily into bold, expressive typography and large-scale, evocative imagery that commands attention. By blending minimalist layouts with a strong sense of graphic weight, the website achieves a modern yet timeless aesthetic that mirrors the weight of its subject matter.",{"id":611,"website_id":612,"page_id":611,"name":613,"slug":614,"url":615,"website_name":613,"website_slug":614,"website_url":616,"result_url":615,"fetched_at":617,"score":618,"score_boost":389,"ai_score":619,"freshness_score":153,"scored_at":620,"page_name":39,"page_url":615,"page_title":621,"page_description":40,"page_content":622,"page_sort":389,"is_home":395,"is_home_rank":396,"page_type_id":397,"page_type_name":45,"cover":623,"cover_mobile":626,"cover_sequence":628,"translations":701,"industry":21,"styles":704,"credits":706,"font_families":707,"technologies":708,"pagespeed":40,"pagespeed_mobile":40,"buckets":711,"search_payload":712},"dca9e8a0-d1e9-4f89-a6f3-354b2abebd35","db54e18e-9293-4fc6-962d-db1b658d707c","Icarus Complex","icarus-complex","https:\u002F\u002Ficaruscomplexmagazine.com\u002F","https:\u002F\u002Ficaruscomplexmagazine.com","2026-05-05T15:14:37.000Z",80,81,"2026-05-23T19:25:43.000Z","Homepage - Icarus Complex","Sound Ecologies Yuri Tuma on an active era of listening. read more [ Buy ISSUE 7 ](https:\u002F\u002Ficaruscomplexmagazine.com\u002Fproduct\u002Fissue-7\u002F) - Most recent - Adaptation - Built Environment - Business - Climate × Sports - Culture - Design - Disaster - Economic Systems - Ecosystems - Energy - Films - Food Systems - Health - Legal Systems - Ocean Health - Policy - Regeneration - Social Justice - Technology - Visual Storytelling - Voices - Water - View all Food Systems Social Justice Voices Our Responsibility is to Know the Story Cristopher Rogel Blanquet discusses knowing the story, reflecting on it, and deciding how and whether to tell it. [ ](https:\u002F\u002Ficaruscomplexmagazine.com\u002Four-responsibility-is-to-know-the-story\u002F) Ocean Health Visual Storytelling Temporary Views Belgium’s North Sea coast is a landscape shaped as much by human ambition as by natural forces. Stretching just 67 kilometres, it is a remarkably compressed territory serving a... [ ](https:\u002F\u002Ficaruscomplexmagazine.com\u002Ftemporary-views\u002F) Food Systems Ocean Health Mauritania’s Fishing Sector – A Cornerstone of Sahelian Security Mauritania’s Atlantic coastline supports a fisheries sector central to livelihoods and national exports. [ ](https:\u002F\u002Ficaruscomplexmagazine.com\u002Fmauritanias-fishing-sector-a-cornerstone-of-sahelian-security\u002F) Economic Systems Policy This Indian Billionaire is Trying to Get Trump to Drop Bribery Charges. Meanwhile, His Company is Forcing Out Another Indigenous Tribe for Coal Billionaire Gautam Adani is accused of building a global energy empire through bribes, bypassing sanctions, violating tribal rights, and targeting journalists. [ ](https:\u002F\u002Ficaruscomplexmagazine.com\u002Fthis-indian-billionaire-is-trying-to-get-trump-to-drop-bribery-charges-meanwhile-his-company-is-forcing-out-another-indigenous-tribe-for-coal\u002F) Ocean Health Policy Social Justice Contested Waters Collaborative cartographies against displacement along The Gambian shores. [ Collaborative cartographies against displacement along The Gambian shores. ](https:\u002F\u002Ficaruscomplexmagazine.com\u002Fcontested-waters\u002F) Built Environment Culture Ecosystems Architecture, Ecology, and the Carbon Talk How might a “Spanish attitude” to architecture deepen our understanding of space and materials within landscapes fragmented by the energy transition? [ ](https:\u002F\u002Ficaruscomplexmagazine.com\u002Farchitecture-ecology-and-the-carbon-talk\u002F) Adaptation Policy Social Justice Heavy Lies the Grain Punjab's agricultural landscape reveals the human and environmental toll of India's Green Revolution. [ ](https:\u002F\u002Ficaruscomplexmagazine.com\u002Fheavy-lies-the-grain\u002F) Design Disaster Voices Architectural Futures in the New Fire Age Designing for resilience at the advent of a new Fire Age. [ ](https:\u002F\u002Ficaruscomplexmagazine.com\u002Farchitectural-futures-in-the-new-fire-age\u002F) view all articles",{"id":624,"height":13,"width":12,"blurhash":625},"8b12a282-dddc-4979-82f6-9c17ae8cc793","radial-gradient(at 0 0,#b0bcc0,#00000000 50%),radial-gradient(at 33% 0,#afb9bb,#00000000 50%),radial-gradient(at 67% 0,#aeb8bd,#00000000 50%),radial-gradient(at 100% 0,#aab3ba,#00000000 50%),radial-gradient(at 0 50%,#939995,#00000000 50%),radial-gradient(at 33% 50%,#9aa1a0,#00000000 50%),radial-gradient(at 67% 50%,#9fa4a2,#00000000 50%),radial-gradient(at 100% 50%,#a2a59f,#00000000 50%),radial-gradient(at 0 100%,#423225,#00000000 50%),radial-gradient(at 33% 100%,#3b2a07,#00000000 50%),radial-gradient(at 67% 100%,#2e0100,#00000000 50%),radial-gradient(at 100% 100%,#371100,#00000000 50%)",{"id":627,"height":15,"width":14,"blurhash":40},"96eb034f-a4eb-414c-9fd3-02dc07b89e15",[629,632,635,638,641,644,647,650,653,656,659,662,665,668,671,674,677,680,683,686,689,692,695,698],{"directus_files_id":630},{"id":631},"b84975d9-39fe-468a-9468-99373cdffaa7",{"directus_files_id":633},{"id":634},"52eeeaf3-2535-4523-a0fa-2b1914bcb6d9",{"directus_files_id":636},{"id":637},"f96b03a3-f7ec-4653-8248-50e2378112a7",{"directus_files_id":639},{"id":640},"ed282330-6f1b-4570-8fa7-ba099bcefd6a",{"directus_files_id":642},{"id":643},"14515777-4a5c-4483-80d8-fe34bbd2962a",{"directus_files_id":645},{"id":646},"2867bd3e-16ce-463e-ac44-3e786dc17ef6",{"directus_files_id":648},{"id":649},"30597c43-9ca2-4a4a-be7e-35fabff6fce0",{"directus_files_id":651},{"id":652},"370be2d0-837d-4192-be37-ae0e820d2767",{"directus_files_id":654},{"id":655},"37c2b10c-a088-47d2-80f7-714d56f93f21",{"directus_files_id":657},{"id":658},"fdc5f7e0-6709-4993-a553-d7a33f1ab6d9",{"directus_files_id":660},{"id":661},"eca0f5f3-677f-4fef-9bd2-f3b7f6d457be",{"directus_files_id":663},{"id":664},"bb96181b-e35a-43b8-a804-683f8e082b29",{"directus_files_id":666},{"id":667},"f2213791-c5c2-4835-a3f8-b1057bc0cae9",{"directus_files_id":669},{"id":670},"dcaae5ae-f84f-4d4a-9ca5-e36751932ab3",{"directus_files_id":672},{"id":673},"ec9798ea-7665-4d52-9573-ee5f14801362",{"directus_files_id":675},{"id":676},"0abc75aa-548a-4e10-a39d-cafb0bcddce7",{"directus_files_id":678},{"id":679},"65fb65e9-753f-4245-9c9d-e8185b486232",{"directus_files_id":681},{"id":682},"c073b83b-36f2-450a-9448-c44eea298543",{"directus_files_id":684},{"id":685},"4103b6df-3c76-4df8-a7dd-af27fbdf97e7",{"directus_files_id":687},{"id":688},"1b32c27c-5207-4fde-b77d-7ff8a93612fa",{"directus_files_id":690},{"id":691},"29d7a5fe-0af7-4905-b1f7-68163c456d6d",{"directus_files_id":693},{"id":694},"d9658bcd-b755-4620-b55e-9e425e704570",{"directus_files_id":696},{"id":697},"e5035bb9-4c24-4f82-9f0f-06d0aa9edfbc",{"directus_files_id":699},{"id":700},"91c05074-95ae-4e5c-bd95-f143259e412f",[702],{"languages_code":466,"description":703},"Icarus Complex is a sophisticated digital and print publication dedicated to systemic storytelling surrounding the global climate crisis. Eschewing the sensationalism of mainstream media, the platform adopts a multidisciplinary lens—examining the intersections of economics, politics, law, and ecology to provide a nuanced understanding of our changing world. It serves as both a journalistic endeavor and a call to action, aiming to transform climate anxiety into informed, solution-based engagement.\n\nThe visual identity is characterized by a high-end editorial aesthetic that balances raw, evocative photography with refined typography. The design utilizes a spacious, minimalist layout that allows powerful imagery to command attention, creating a sense of urgency without sacrificing sophistication. Through a muted yet impactful color palette and a structured grid, the website establishes itself as a credible, intellectual authority for an audience of thinkers, activists, and global citizens seeking depth over headlines.",[588,705,33],"High-End \u002F Luxury",[],[349,340],[316,709,329,317,320,126,710,318],"Lightbox","WooCommerce",[158,162,166],"Website: Icarus Complex. Page: Homepage. Page type: Home \u002F Landing Page. Page title: Homepage - Icarus Complex. Page content: Sound Ecologies Yuri Tuma on an active era of listening. read more [ Buy ISSUE 7 ](https:\u002F\u002Ficaruscomplexmagazine.com\u002Fproduct\u002Fissue-7\u002F) - Most recent - Adaptation - Built Environment - Business - Climate × Sports - Culture - Design - Disaster - Economic Systems - Ecosystems - Energy - Films - Food Systems - Health - Legal Systems - Ocean Health - Policy - Regeneration - Social Justice - Technology - Visual Storytelling - Voices - Water - View all Food Systems Social Justice Voices Our Responsibility is to Know the Story Cristopher Rogel Blanquet discusses knowing the story, reflecting on it, and deciding how and whether to tell it. [ ](https:\u002F\u002Ficaruscomplexmagazine.com\u002Four-responsibility-is-to-know-the-story\u002F) Ocean Health Visual Storytelling Temporary Views Belgium’s North Sea coast is a landscape shaped as much by human ambition as by natural forces. Stretching just 67 kilometres, it is a remarkably compressed territory serving a... [ ](https:\u002F\u002Ficaruscomplexmagazine.com\u002Ftemporary-views\u002F) Food Systems Ocean Health Mauritania’s Fishing Sector – A Cornerstone of Sahelian Security Mauritania’s Atlantic coastline supports a fisheries sector central to livelihoods and national exports. [ ](https:\u002F\u002Ficaruscomplexmagazine.com\u002Fmauritanias-fishing-sector-a-cornerstone-of-sahelian-security\u002F) Economic Systems Policy This Indian Billionaire is Trying to Get Trump to Drop Bribery Charges. Meanwhile, His Company is Forcing Out Another Indigenous Tribe for Coal Billionaire Gautam Adani is accused of building a global energy empire through bribes, bypassing sanctions, violating tribal rights, and targeting journalists. [ ](https:\u002F\u002Ficaruscomplexmagazine.com\u002Fthis-indian-billionaire-is-trying-to-get-trump-to-drop-bribery-charges-meanwhile-his-company-is-forcing-out-another-indigenous-tribe-for-coal\u002F) Ocean Health Policy Social Justice Contested Waters Collaborative cartographies against displacement along The Gambian shores. [ Collaborative cartographies against displacement along The Gambian shores. ](https:\u002F\u002Ficaruscomplexmagazine.com\u002Fcontested-waters\u002F) Built Environment Culture Ecosystems Architecture, Ecology, and the Carbon Talk How might a “Spanish attitude” to architecture deepen our understanding of space and materials within landscapes fragmented by the energy transition? [ ](https:\u002F\u002Ficaruscomplexmagazine.com\u002Farchitecture-ecology-and-the-carbon-talk\u002F) Adaptation Policy Social Justice Heavy Lies the Grain Punjab's agricultural landscape reveals the human and environmental toll of India's Green Revolution. [ ](https:\u002F\u002Ficaruscomplexmagazine.com\u002Fheavy-lies-the-grain\u002F) Design Disaster Voices Architectural Futures in the New Fire Age Designing for resilience at the advent of a new Fire Age. [ ](https:\u002F\u002Ficaruscomplexmagazine.com\u002Farchitectural-futures-in-the-new-fire-age\u002F) view all articles. A Clean \u002F Minimalist, High-End \u002F Luxury, Typographic \u002F Big Type website in the Entertainment & Media industry. The overall color palette features White, Black, Gray. The typography features Montserrat (Sans Serif), Inter (Sans Serif). Built using jQuery, Lightbox, MailChimp, PHP, React, Stripe, WooCommerce, WordPress. AI description: Icarus Complex is a sophisticated digital and print publication dedicated to systemic storytelling surrounding the global climate crisis. Eschewing the sensationalism of mainstream media, the platform adopts a multidisciplinary lens—examining the intersections of economics, politics, law, and ecology to provide a nuanced understanding of our changing world. It serves as both a journalistic endeavor and a call to action, aiming to transform climate anxiety into informed, solution-based engagement. The visual identity is characterized by a high-end editorial aesthetic that balances raw, evocative photography with refined typography. The design utilizes a spacious, minimalist layout that allows powerful imagery to command attention, creating a sense of urgency without sacrificing sophistication. Through a muted yet impactful color palette and a structured grid, the website establishes itself as a credible, intellectual authority for an audience of thinkers, activists, and global citizens seeking depth over headlines.",{"id":714,"website_id":715,"page_id":714,"name":716,"slug":717,"url":718,"website_name":716,"website_slug":717,"website_url":719,"result_url":718,"fetched_at":720,"score":390,"score_boost":389,"ai_score":721,"freshness_score":722,"scored_at":723,"page_name":39,"page_url":718,"page_title":724,"page_description":40,"page_content":725,"page_sort":389,"is_home":395,"is_home_rank":396,"page_type_id":397,"page_type_name":45,"cover":726,"cover_mobile":729,"cover_sequence":731,"translations":774,"industry":468,"styles":777,"credits":778,"font_families":779,"technologies":780,"pagespeed":782,"pagespeed_mobile":788,"buckets":794,"search_payload":795},"d674124c-8b4e-4cb0-93ba-7fa74005ec29","fd68d266-a953-4d77-accf-e9b141930d84","Possible Monuments","possible-monuments","https:\u002F\u002Fpossiblemonuments.se\u002F","https:\u002F\u002Fpossiblemonuments.se","2026-05-03T15:23:23.000Z",78,73,"2026-05-23T19:25:51.000Z","Possible Monuments?","Possible Monuments? Watch the Seminar SV ↓↑ [ Jimmy Robert Le Sacre du Printemps Jimmy Robert – Le Sacre du Printemps – Jimmy Robert – Le Sacre du Printemps – ](#)[ Daniela Ortiz In the Celebration of Our Struggles Is Their Collapse Daniela Ortiz – In the Celebration of Our Struggles Is Their Collapse – Daniela Ortiz – In the Celebration of Our Struggles Is Their Collapse – ](#)[ Morgan Quaintance Gestural Politics: Decolonisation and the Cosmetic Regime Morgan Quaintance – Gestural Politics: Decolonisation and the Cosmetic Regime – Morgan Quaintance – Gestural Politics: Decolonisation and the Cosmetic Regime – ](#)[ Runo Lagomarsino Geography of Haunted Places Runo Lagomarsino – Geography of Haunted Places – Runo Lagomarsino – Geography of Haunted Places – Runo Lagomarsino – Geography of Haunted Places – Runo Lagomarsino – Geography of Haunted Places – ](#)[ Ayesha Hameed Trading Winds Ayesha Hameed – Trading Winds – Ayesha Hameed – Trading Winds – Ayesha Hameed – Trading Winds – Ayesha Hameed – Trading Winds – ](#)[ Hanan Benammar A Memorial to the French Plots of Land Hanan Benammar – A Memorial to the French Plots of Land – Hanan Benammar – A Memorial to the French Plots of Land ](#)[ Aria Dean New Monument for Franska tomten Aria Dean - New Monument for Franska tomten – New Monument for Franska tomten – for Fransk tomten – ](#)[ Ylva Habel The Delaware Monument(s) and Swedish materializations of colonial memory Ylva Habel – The Delaware Monument(s) and Swedish materializations of colonial memory – ](#)[ Fatima Moallim Legera Fatima Moallim – Legera – Fatima Moallim – Legera – Fatima Moallim – Legera – Fatima Moallim – Legera – ](#) The programme is a collaboration between Göteborg International Biennial for Contemporary Art and Public Art Agency Sweden. Possible Monuments? The Role of Art in Making Swedish Colonial History Publicly Visible Online seminar November 26 16.00-18.30 CET Since 2019, Göteborg International Biennial for Contemporary Art has initiated a series of seminars and artistic commissions on the topic of the visual representation in public space of Sweden’s colonial past and its contemporary consequences. For the project _Possible Monuments?_ artists and writers have been invited to respond to Franska tomten, a site in Gothenburg harbour with connections to Sweden’s colonial activities in the Caribbean. Their responses are hosted here and have been discussed in an online seminar on November 26th. The project is organised in collaboration by Göteborg International Biennial for Contemporary Art and Public Art Agency Sweden. Contributors: Aria Dean, Ayesha Hameed, Daniela Ortiz, Fatima Moallim, Hanan Benammar, Jimmy Robert, Morgan Quaintance, Runo Lagomarsino, Ylva Habel, in dialogue with Lisa Rosendahl, curator GIBCA 2019 & 2021. Considering recent actions directed at public statues with colonial connotations, as well as the underdiscussed Swedish involvement in colonial trade, the seminar addresses the need of remembrance and memorialization in honour of the victims of colonialism and its contemporary consequences. How can we open existing monuments to re-contextualization? What role can art play in making Swedish colonial history publicly visible? How can new monuments, be it material or immaterial, trace past to present? How should a potential future commissioning process be conducted to avoid reproducing existing structures of inequality and exclusion? Is there indeed such a thing as a possible monument, and if so: for whom and by whom should such monuments be made? Franska tomten got its name in 1784 when it was exchanged for the Caribbean Island of Saint Barthélemy as part of a trade agreement between Sweden and France. While the French were given free trade rights in Gothenburg, Sweden took over the colonial administration of Saint Barthélemy. Until 1847, Sweden’s economic activities connected to the island were almost exclusively concerned with slave trade. In 1878 the territory was sold back to France. Today, no official information acknowledging Sweden´s involvement in colonial violence, nor any commemorative gesture honouring its victims, exist on site. Furthermore, there are no public monuments or memorials in the country as a whole acknowledging Sweden’s colonial relations and those who suffered their consequences. The country´s colonial activities, of which Saint Barthélemy is but one example, are also not generally part of how the narrative of the formation of the Swedish industrial Welfare State is told. What does remain on site at Franska tomten are artworks commissioned in the first half of the 20th century by modern day transatlantic shipping companies. As power structures of colonialism, anti-blackness and white supremacy continue to inform our present, artists are invited to reflect and comment on these visual traces of political and aesthetic ideologies. The project is also part of the biennial’s ongoing engagement with Franska tomten and alternative historiography. Previous seminars and commissions related to Franska tomten include: _Franska tomten: Shedding Light on Swedish Colonial History_, in collaboration with Public Art Agency Sweden, with the participation of artists Jeannette Ehlers and Eric Magassa, GIBCA curator Lisa Rosendahl, Judith Wielander, curator of Visible Projects, Mathias Danbolt, art historian; Sarah Hansson, curator for Göteborg konst and Lotta Mossum, curator for Public Art Agency Sweden; _Swedish Colonial History – Abolition of Slavery and Contemporary European Discourses_, lectures by Françoise Vergès and Klas Rönnbäck; _Listening to Colonial Traces in Public Space in Gothenburg_, lectures and panel with Maria Ripenberg, Lena Sawyer, Nana Osei-Kofi, Sandra Grehn and Therese Svensson; and commissions in public space by Eric Magassa and Ibrahim Mahama. The eleventh edition of the biennial, _The Ghost Ship and the Sea Change_, opens in two phases on June 5th and September 11th, 2021. Image: Delaware Monument at Stenpiren, Gothenburg. Photo: Malin Griffiths © Carl Milles \u002F Bildupphovsrätt 2020. Trading Winds _Trading Winds_ is a multichannel sound installation and series of textile panels installed in Gothenburg. It references the twin city plans based on canal systems made for Gothenburg and Batavia (now Jakarta) and the 1852 hurricane that struck Saint Barthélemy, Sweden’s only slave colony in the Caribbean. Trading Winds thinks about tunnels of wind through these two cities and the Caribbean island and their relationship to colonialism and slavery. _Trading Winds_ is plotted along a five-minute walk that starts from Packhusplatsen 6–7, the canal side of the Customs House, where goods from the Transatlantic slave trade were stored. It ends at the Gothenburg City Museum, located in the former East India Trade Company building. Over the course of this five-minute walk then, we travel from one phase of Franska tomten’s history to another—from its participation in the Transatlantic slave trade, to its role as a hub of colonial trade. The walk that _Trading Winds_ traces along the historical canal of Franska tomten evokes another set of canals: those in Batavia, the old Dutch bastion town in contemporary Jakarta that was twinned with Gothenburg as they were both designed under the Dutch colonial empire. It links this buried history with another lesser-known history: that of Sweden’s only colony in the Caribbean, Saint Barthélemy. This is what _Trading Winds_ will look like. Installed along the canal as one walks from the Customs House to the City Museum, will be a series of speakers that play street sounds recorded in Saint Barthélemy and Jakarta. In St Barthélemy the sound will be recorded during a walk through the historic port of St. Gustavia. And in Jakarta, the sound recorded will be from a walk along one of the canals in the historic Batavia. As you walk from Packhusplatsen 6–7 you hear the sound of St. Gustavia, and when you arrive at the City Museum you hear the sounds of Jakarta along the canal. During the walk the sound of Saint Barthélemy will gradually overlap with the sound from Jakarta forming a blurred soundscape. As you near the City Museum, the sounds of Jakarta will get louder and those of Saint Barthélemy will fade, but in between there will be an indeterminate sonic blending between the two cities that Gothenburg is historically and intimately connected with. The textile panels that will be planted above each speaker along the canal refer to both Saint Barthélemy’s and Batavia\u002FJakarta’s colonial trading history. Goods being traded in Batavia included nutmeg, peppers, cloves, cinnamon, coffee, tea, cacao, tobacco, rubber, and sugar. The canals were not suitable for the conditions in the region: they constantly silted over and had to be dredged: an ecological manifestation of the colonial violence of imposing modular city planning. Saint Barthélemy, a volcanic and arid island, could not support the conditions for a plantation system of slavery, so the Swedes established the island as a free trade zone for the purchase of slaves. This was an even more dire commodification of enslaved men and women. The textiles will bear traces of that history—from Jacques Gentes’ unsuccessful attempt to cultivate cacao in the 17th century; to the commercial production of salt, visualized here in the mangroves that were able to grow the saline swamps around the island and that mitigated the currents of the windy sea that buffeted the island; to the flamboyant, a tree indigenous to Madagascar but planted in tropical and subtropical regions all over the world and evoked here to consider flora disseminated through colonialism; and finally to the barbary fig, which is reported to have been used as a cactus fence as a defense against rival colonizing countries from Europe, like Britain. The textiles will be dyed using pigments from these spices and plants. And the images themselves will form the basis of what is printed onto the fabrics. Their colour and scent will fade with time in the outdoor weather of Gothenburg. Winds fuelled the currents of trade winds in the Indian Ocean, steering ships to all parts of the world, and blew seeds from island to island in the Caribbean. > Images from Wikipedia > > Sample sounds from Freesound: > > “embedded muezzin-chants in moderate traffic-noise at 12h am” (jakarta) source https:\u002F\u002Ffreesound.org\u002Fs\u002F27520\u002F > author palem > This work is licensed under the Creative Commons 0 License. > > “A windy afternoon in St Croix. Birds singing, wind blowing through house.” source: https:\u002F\u002Ffreesound.org\u002Fpeople\u002Fnyseagull\u002Fsounds\u002F400379\u002F > au …",{"id":727,"height":13,"width":12,"blurhash":728},"8306bce1-2a61-4cef-8d0e-425a4e843454","radial-gradient(at 0 0,#f7f6f7,#00000000 50%),radial-gradient(at 33% 0,#e8e7e8,#00000000 50%),radial-gradient(at 67% 0,#ededee,#00000000 50%),radial-gradient(at 100% 0,#f7f7f7,#00000000 50%),radial-gradient(at 0 50%,#f0f1f0,#00000000 50%),radial-gradient(at 33% 50%,#ebecec,#00000000 50%),radial-gradient(at 67% 50%,#e9e9e9,#00000000 50%),radial-gradient(at 100% 50%,#ebebea,#00000000 50%),radial-gradient(at 0 100%,#eae9e9,#00000000 50%),radial-gradient(at 33% 100%,#d4d3d3,#00000000 50%),radial-gradient(at 67% 100%,#dddcdb,#00000000 50%),radial-gradient(at 100% 100%,#f0efee,#00000000 50%)",{"id":730,"height":15,"width":14,"blurhash":40},"094532e5-633b-4e3c-8e3d-79114e4a1239",[732,735,738,741,744,747,750,753,756,759,762,765,768,771],{"directus_files_id":733},{"id":734},"a130cef7-3db9-437a-8a9e-d1acb51b872f",{"directus_files_id":736},{"id":737},"f913808a-9d11-4c90-8788-32d6dc7e9fe2",{"directus_files_id":739},{"id":740},"34b2c4c4-7e28-4507-9064-a06c845d88fc",{"directus_files_id":742},{"id":743},"4a1a9218-451e-4b36-953e-a43ab3fc4282",{"directus_files_id":745},{"id":746},"56e037ad-e4ea-4ef0-b624-9b7ff16fc292",{"directus_files_id":748},{"id":749},"513826b2-adc2-4fd3-b164-34e4fd361ba7",{"directus_files_id":751},{"id":752},"5c27e783-5f82-4e98-b581-d8172f1392d1",{"directus_files_id":754},{"id":755},"4e17cc8f-3d7a-4ddb-bc7a-194580aa7de7",{"directus_files_id":757},{"id":758},"dc28a6e2-7faa-45ee-8b17-84a3d57fedb0",{"directus_files_id":760},{"id":761},"5fafe98b-8f59-40ae-a36b-0e58c0998cfc",{"directus_files_id":763},{"id":764},"e004f06c-1d17-4f5d-9d0b-76865bcbc45d",{"directus_files_id":766},{"id":767},"2fb7420c-9401-4798-9268-39e242daf7df",{"directus_files_id":769},{"id":770},"a37d5945-a2f8-410d-ab24-e963afb417d2",{"directus_files_id":772},{"id":773},"00975b56-740b-4852-8c2d-1f4ca70b1b44",[775],{"languages_code":466,"description":776},"Possible Monuments serves as a sophisticated digital archive and platform for contemporary art, exploring themes of memory, landscape, and cultural identity. The website functions as a curated exhibition space, presenting a diverse array of artists and their works through a lens of intellectual inquiry and historical reflection.\n\nThe visual identity is defined by a bold, editorial aesthetic that prioritizes high-contrast typography and a structured, grid-based layout. By utilizing expansive serif typefaces and a monochromatic foundation, the design creates a sense of permanence and gravity, mirroring the 'monumental' nature of its subject matter. The interplay between large-scale text and evocative, often grainy or high-contrast imagery lends the site a gallery-like atmosphere that is both avant-garde and deeply academic.",[588,589,33],[],[],[316,317,781,318,328],"Ubuntu",[783,784,786,787],{"score":205,"category":138},{"score":785,"category":141},61,{"score":200,"category":144},{"score":148,"category":147},[789,791,792,793],{"score":790,"category":138},30,{"score":785,"category":141},{"score":200,"category":144},{"score":148,"category":147},[158,162,166],"Website: Possible Monuments. Page: Homepage. Page type: Home \u002F Landing Page. Page title: Possible Monuments?. Page content: Possible Monuments? Watch the Seminar SV ↓↑ [ Jimmy Robert Le Sacre du Printemps Jimmy Robert – Le Sacre du Printemps – Jimmy Robert – Le Sacre du Printemps – ](#)[ Daniela Ortiz In the Celebration of Our Struggles Is Their Collapse Daniela Ortiz – In the Celebration of Our Struggles Is Their Collapse – Daniela Ortiz – In the Celebration of Our Struggles Is Their Collapse – ](#)[ Morgan Quaintance Gestural Politics: Decolonisation and the Cosmetic Regime Morgan Quaintance – Gestural Politics: Decolonisation and the Cosmetic Regime – Morgan Quaintance – Gestural Politics: Decolonisation and the Cosmetic Regime – ](#)[ Runo Lagomarsino Geography of Haunted Places Runo Lagomarsino – Geography of Haunted Places – Runo Lagomarsino – Geography of Haunted Places – Runo Lagomarsino – Geography of Haunted Places – Runo Lagomarsino – Geography of Haunted Places – ](#)[ Ayesha Hameed Trading Winds Ayesha Hameed – Trading Winds – Ayesha Hameed – Trading Winds – Ayesha Hameed – Trading Winds – Ayesha Hameed – Trading Winds – ](#)[ Hanan Benammar A Memorial to the French Plots of Land Hanan Benammar – A Memorial to the French Plots of Land – Hanan Benammar – A Memorial to the French Plots of Land ](#)[ Aria Dean New Monument for Franska tomten Aria Dean - New Monument for Franska tomten – New Monument for Franska tomten – for Fransk tomten – ](#)[ Ylva Habel The Delaware Monument(s) and Swedish materializations of colonial memory Ylva Habel – The Delaware Monument(s) and Swedish materializations of colonial memory – ](#)[ Fatima Moallim Legera Fatima Moallim – Legera – Fatima Moallim – Legera – Fatima Moallim – Legera – Fatima Moallim – Legera – ](#) The programme is a collaboration between Göteborg International Biennial for Contemporary Art and Public Art Agency Sweden. Possible Monuments? The Role of Art in Making Swedish Colonial History Publicly Visible Online seminar November 26 16.00-18.30 CET Since 2019, Göteborg International Biennial for Contemporary Art has initiated a series of seminars and artistic commissions on the topic of the visual representation in public space of Sweden’s colonial past and its contemporary consequences. For the project _Possible Monuments?_ artists and writers have been invited to respond to Franska tomten, a site in Gothenburg harbour with connections to Sweden’s colonial activities in the Caribbean. Their responses are hosted here and have been discussed in an online seminar on November 26th. The project is organised in collaboration by Göteborg International Biennial for Contemporary Art and Public Art Agency Sweden. Contributors: Aria Dean, Ayesha Hameed, Daniela Ortiz, Fatima Moallim, Hanan Benammar, Jimmy Robert, Morgan Quaintance, Runo Lagomarsino, Ylva Habel, in dialogue with Lisa Rosendahl, curator GIBCA 2019 & 2021. Considering recent actions directed at public statues with colonial connotations, as well as the underdiscussed Swedish involvement in colonial trade, the seminar addresses the need of remembrance and memorialization in honour of the victims of colonialism and its contemporary consequences. How can we open existing monuments to re-contextualization? What role can art play in making Swedish colonial history publicly visible? How can new monuments, be it material or immaterial, trace past to present? How should a potential future commissioning process be conducted to avoid reproducing existing structures of inequality and exclusion? Is there indeed such a thing as a possible monument, and if so: for whom and by whom should such monuments be made? Franska tomten got its name in 1784 when it was exchanged for the Caribbean Island of Saint Barthélemy as part of a trade agreement between Sweden and France. While the French were given free trade rights in Gothenburg, Sweden took over the colonial administration of Saint Barthélemy. Until 1847, Sweden’s economic activities connected to the island were almost exclusively concerned with slave trade. In 1878 the territory was sold back to France. Today, no official information acknowledging Sweden´s involvement in colonial violence, nor any commemorative gesture honouring its victims, exist on site. Furthermore, there are no public monuments or memorials in the country as a whole acknowledging Sweden’s colonial relations and those who suffered their consequences. The country´s colonial activities, of which Saint Barthélemy is but one example, are also not generally part of how the narrative of the formation of the Swedish industrial Welfare State is told. What does remain on site at Franska tomten are artworks commissioned in the first half of the 20th century by modern day transatlantic shipping companies. As power structures of colonialism, anti-blackness and white supremacy continue to inform our present, artists are invited to reflect and comment on these visual traces of political and aesthetic ideologies. The project is also part of the biennial’s ongoing engagement with Franska tomten and alternative historiography. Previous seminars and commissions related to Franska tomten include: _Franska tomten: Shedding Light on Swedish Colonial History_, in collaboration with Public Art Agency Sweden, with the participation of artists Jeannette Ehlers and Eric Magassa, GIBCA curator Lisa Rosendahl, Judith Wielander, curator of Visible Projects, Mathias Danbolt, art historian; Sarah Hansson, curator for Göteborg konst and Lotta Mossum, curator for Public Art Agency Sweden; _Swedish Colonial History – Abolition of Slavery and Contemporary European Discourses_, lectures by Françoise Vergès and Klas Rönnbäck; _Listening to Colonial Traces in Public Space in Gothenburg_, lectures and panel with Maria Ripenberg, Lena Sawyer, Nana Osei-Kofi, Sandra Grehn and Therese Svensson; and commissions in public space by Eric Magassa and Ibrahim Mahama. The eleventh edition of the biennial, _The Ghost Ship and the Sea Change_, opens in two phases on June 5th and September 11th, 2021. Image: Delaware Monument at Stenpiren, Gothenburg. Photo: Malin Griffiths © Carl Milles \u002F Bildupphovsrätt 2020. Trading Winds _Trading Winds_ is a multichannel sound installation and series of textile panels installed in Gothenburg. It references the twin city plans based on canal systems made for Gothenburg and Batavia (now Jakarta) and the 1852 hurricane that struck Saint Barthélemy, Sweden’s only slave colony in the Caribbean. Trading Winds thinks about tunnels of wind through these two cities and the Caribbean island and their relationship to colonialism and slavery. _Trading Winds_ is plotted along a five-minute walk that starts from Packhusplatsen 6–7, the canal side of the Customs House, where goods from the Transatlantic slave trade were stored. It ends at the Gothenburg City Museum, located in the former East India Trade Company building. Over the course of this five-minute walk then, we travel from one phase of Franska tomten’s history to another—from its participation in the Transatlantic slave trade, to its role as a hub of colonial trade. The walk that _Trading Winds_ traces along the historical canal of Franska tomten evokes another set of canals: those in Batavia, the old Dutch bastion town in contemporary Jakarta that was twinned with Gothenburg as they were both designed under the Dutch colonial empire. It links this buried history with another lesser-known history: that of Sweden’s only colony in the Caribbean, Saint Barthélemy. This is what _Trading Winds_ will look like. Installed along the canal as one walks from the Customs House to the City Museum, will be a series of speakers that play street sounds recorded in Saint Barthélemy and Jakarta. In St Barthélemy the sound will be recorded during a walk through the historic port of St. Gustavia. And in Jakarta, the sound recorded will be from a walk along one of the canals in the historic Batavia. As you walk from Packhusplatsen 6–7 you hear the sound of St. Gustavia, and when you arrive at the City Museum you hear the sounds of Jakarta along the canal. During the walk the sound of Saint Barthélemy will gradually overlap with the sound from Jakarta forming a blurred soundscape. As you near the City Museum, the sounds of Jakarta will get louder and those of Saint Barthélemy will fade, but in between there will be an indeterminate sonic blending between the two cities that Gothenburg is historically and intimately connected with. The textile panels that will be planted above each speaker along the canal refer to both Saint Barthélemy’s and Batavia\u002FJakarta’s colonial trading history. Goods being traded in Batavia included nutmeg, peppers, cloves, cinnamon, coffee, tea, cacao, tobacco, rubber, and sugar. The canals were not suitable for the conditions in the region: they constantly silted over and had to be dredged: an ecological manifestation of the colonial violence of imposing modular city planning. Saint Barthélemy, a volcanic and arid island, could not support the conditions for a plantation system of slavery, so the Swedes established the island as a free trade zone for the purchase of slaves. This was an even more dire commodification of enslaved men and women. The textiles will bear traces of that history—from Jacques Gentes’ unsuccessful attempt to cultivate cacao in the 17th century; to the commercial production of salt, visualized here in the mangroves that were able to grow the saline swamps around the island and that mitigated the currents of the windy sea that buffeted the island; to the flamboyant, a tree indigenous to Madagascar but planted in tropical and subtropical regions all over the world and evoked here to consider flora disseminated through colonialism; and finally to the barbary fig, which is reported to have been used as a cactus fence as a defense against rival colonizing countries from Europe, like Britain. The textiles will be dyed using pigments from these spices and plants. And the images themselves will form the basis of what is printed onto the fabrics. Their colour and scent will fade with time in the outdoor weather of Gothenburg. Winds fuelled the currents of trade winds in the Indian Ocean, steering ships to all parts of the world, and blew seeds from island to island in the Caribbean. > Images from Wikipedia > > Sample sounds from Freesound: > > “embedded muezzin-chants in moderate traffic-noise at 12h am” (jakarta) source https:\u002F\u002Ffreesound.org\u002Fs\u002F27520\u002F > author palem > This work is licensed under the Creative Commons 0 License. > > “A windy afternoon in St Croix. Birds singing, wind blowing through house.” source: https:\u002F\u002Ffreesound.org\u002Fpeople\u002Fnyseagull\u002Fsounds\u002F400379\u002F > au …. A Clean \u002F Minimalist, Monochrome \u002F Grayscale, Typographic \u002F Big Type website in the Art & Culture industry. The overall color palette features White, Black, Gray. Built using jQuery, PHP, Ubuntu, WordPress, YouTube. AI description: Possible Monuments serves as a sophisticated digital archive and platform for contemporary art, exploring themes of memory, landscape, and cultural identity. The website functions as a curated exhibition space, presenting a diverse array of artists and their works through a lens of intellectual inquiry and historical reflection. The visual identity is defined by a bold, editorial aesthetic that prioritizes high-contrast typography and a structured, grid-based layout. By utilizing expansive serif typefaces and a monochromatic foundation, the design creates a sense of permanence and gravity, mirroring the 'monumental' nature of its subject matter. The interplay between large-scale text and evocative, often grainy or high-contrast imagery lends the site a gallery-like atmosphere that is both avant-garde and deeply academic."]