Gender Archives

Selbstportrait und Vice Versa (Self-portrait and vice versa)

This film is emblematic of how Margaret Raspé confronts the relationship between body and camera, subject and object, and the ways in which they are

Black Background Black and White Photo with a half lit face in the center of the frame

While The Gods Were Busy With Another Child

This deeply exploratory work is drawn exclusively from the eclectic personal and public archive, in multiple formats, of Andrea’s life until their lasting estrangement from

In a dimly lit room, a white woman with blonde hair covers her face with her hands. Her eyes appear to be closed tightly; it's unclear if she's laughing or crying. A caption at the bottom of the image reads: “laughter.”

Shared Resources

[Image Description: In a dimly lit room, a white woman with blonde hair covers her face with her hands. Her eyes appear to be closed

After… After… (Access)

[Image description: The inside of a body, including a spine and other organs, appears on a laptop screen. A white person’s hand reaches toward the

A passage in an art gallery in-between exhibitions shows a white wall with a sheet of white plywood leaning against it, lit by a single light, with industrial-looking columns running down the center of the passage and along the opposite edge from the wall. On the image is a caption over a black bar that reads: on the on that on that wood or whatever that is, that metal.

Expressions

[Image description: A passage in an art gallery in-between exhibitions shows a white wall with a sheet of white plywood leaning against it, lit by

The torso of a white man holding a potato in one hand and a knife in the other. A caption at the bottom of the image reads: "A potato that he has cut a huge gouge..."

I Can Hear My Mother’s Voice

Made collaboratively with the filmmaker’s mom Deborah, I Can Hear My Mother’s Voice documents her process of learning how to use the filmmaker’s video camera.

On Weaving

“In On Weaving, Alchemy artists in residence Luke Fowler and Corin Sworn respond to the legacies of textile artists Bernat and Margaret Klein and their

MASCON: A Massive Concentration Of Black Experiential Energy

Think of Mascon: A Massive Concentration Of Black Experiential Energy as an audiovisual investigation into the gestures, geometries, grammars and geographies that compose the forms

The Eternal Return

The Eternal Return, the third instalment in the Dissolution trilogy, posits a now-struggling Sabu in 1952 as he supports his family by performing in Tom

The Fruit is There to be Eaten

‘The Fruit is There To Be Eaten’, the second instalment of the Dissolution Trilogy is based on Michael Powell and Emeric Pressburger’s Black Narcissus (1947).

Brown Queers

Brown Queers developed out of a need to create a docufiction of intersectional identity through multiple personas and styles in 2016, when the footage for

House of Women

In House of Women (2017), the artist recasts the role of a silent, dancing girl named Kanchi in the film Black Narcissus (1947). The coveted

Elephant Boy

Elephant Boy (2016) sees Krishna Istha re-enact the introductory sequence of Zoltan Korda’s Elephant Boy (1937), in which child actor Sabu recites lines by rote

The Invisible Worm

The Invisible Worm is a funny / serious film with spontaneous moments of joy, physicality and thinking aloud. The subtext of the film is the

The Umpire Whispers

‘The Umpire Whispers’ is an exploration of the intimacy that arises between a swimming coach and an athlete. In the film, Manna returns to meet her coach

Themes: Gender