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Among the past projects that Rushdi Anwar presents for his Instagram slot are clips of the single-channel video Facing Living: The Past in the Present, 2015, which focuses on a pair of hands tearing up and re-piecing a portrait of Saddam Hussain – a loaded gesture given the artist's Kurdish background and the dictator's persecution (and 1988 genocide) of Iraqi Kurds. Courtesy the artist and Artspace, Sydney.īeing lost and feeling loss are common experiences for post-colonial and diasporic bodies (be they mixed or otherwise), and for those whose dislocation is recent. Shivanjani Lal, selected Instagram post for 52 ARTISTS 52 ACTIONS (2 April 2018). In one note addressed to her Nanni, Lal writes: 'This is for the time you crossed the Kala Pani twice 1938–1940' – Kali Pani referring to the offence of crossing the ocean, or 'black waters', to foreign places and thus creating a disconnect with Hindu traditions and ways of life that are bound to the land. Captions give insight into Lal's personal history, which moves from India and Fiji to Australia. Familial connection as a mode of historical transmission is evident, too, in Khet: videos of Shivanjani Lal performing Pranama, a Hindu form of salutation addressed to something or someone, often ancestors. As Nguyen explains, West African soldiers who fought for the French during the Second World War also fought in Vietnam during the Anti-French Resistance War (between 19), with a significant number of Vietnamese women and children migrating to Senegal after France's defeat, resulting in generations who carry their genes and memories. History runs in the blood in Vernon Ah Kee's moving images documenting the creation of his father's portrait after his death, as it does in Tuấn Andrew Nguyễn's film excerpts, which map the legacy of French colonialism in Vietnam by way of West Africa. Courtesy the artist and Artspace, Sydney.
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Vernon Ah Kee, selected video still, Instagram post for 52 ARTISTS 52 ACTIONS (20 September 2018).
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In the case of Tromarama, the collective performs a forecasting of the future using their own software that gathers tweets connected with a time-related hashtag on Twitter, reformatting them into poetic text, with one line in a series of slides reading: 'I am a time traveller.' Or consider Bhenji Ra's snapshots into a community 'of trans, queer and non-binary people of colour belonging to the Asia Pacific diaspora', who seek survival 'within the spaces that attempt to threaten and constrain' them, while decentring those spaces in turn.
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Take The Mulka Project, a Yolŋu-managed production house and archive based in north-east Arnhem Land in Australia, whose mission is expressed in a series of posts: 'To bring knowledge from the past to the present, and from the present to the future' through the creation and dissemination of 'a growing, living archive of Yolŋu knowledge, ceremony and cultural history'. The same could be said of 52 ARTISTS 52 ACTIONS as a whole: a polyphonic letter to the future in which space is not bound to territory as much as it is to time and the earthly bodies that mediate its passage. Jason Wee, selected Instagram post for 52 ARTISTS 52 ACTIONS (12 September 2018).