The archive, in its variables of collecting private or public documents, relating to a person, family, municipality or state, is configured as a circumscribed place, with limited access or reserved for specific users. Its historical connection – especially the archive as institution – with power and various forms of long-standing hegemony, while it has contributed to arousing its fascination and a certain aura of mystery in recent decades, has been paralleled with a profound questioning and recognition of its problematic “neutral technology” (Azoulay, 2019). To consider that a collection of written texts, visual works, volumes, and photographs, and moving images composes a corpus can lead us back to the etymology of the Latin term, which takes on this meaning much later. Before, it referred to a body, individual, person, or living being, as well as a corpse, inanimate body, matter, organism, and structure. If we then maintain the polysemy of the corpus to diversify the archives in which they live, we will suddenly find ourselves faced with a variety of typologies that expand the very notion of the archive, push it out of protective walls, dirty it, contaminate it and regenerate it, making it living matter and in constant metamorphosis (Coccia, 2020). We can read this corpus as an archive that selfgenerates, feeds itself, feeds back, tells itself, passes on, and lets itself be consulted. A system of knowledge that owns itself as an archive, which “should be seen as a contact zone between past and present but also between temporally diverse and interconnected processes of documenting and consuming information” (Tortorici, 2018), available to be activated and put into relation in a constant becoming in transformation. What can this approach teach us about the wonder, the abject, the beauty, the waste in the planet when they become “haunted archives of livingness” (Subramaniam, 2024)? In this context, photography emerges as a central medium through which haunted archives are constituted, activated, and contested. Photographs not only preserve the visual remnants of ecological and political violence, but also act as spectral witnesses— carriers of both memory and omission. What role does the photograph play in embodying “livingness” or decay? How can photographic archives resist the logics of extractivism, classification? Confronted with climate change, overdevelopment, ecological devastation, environmental crises, energy dependence, poverty, reproductive injustice, unsustainable agriculture, and food insecurity, to name just a few, “seeking to understand the world as embrangled in its histories is the urgent project before us.” (Subramaniam, 2024) How can we look at the geological traces, at the rivers’ flow, at the accumulation of waste, at the dialects of folk proverbs and storytelling, at “invasive” plant species, at the physical space occupied to store our digital data and see them, observe them, sense them and create through them? Would we be able to look at them with the attention devoted to documents preserved and protected in archives without falling into the trap of “classification, tagging, and naming of different groups to form a human index” (Azoulay, 2019), or –by contrast– would we be able not to forget or ignore them but rather to embrace a project of care? Envisioning art—and cultural practices more broadly—as an empowering means at our hands to cultivate a utopia for a better liveable future, the 6th edition of the International Conference Reframing the Archive brings together scholars, researchers, visual artists and other professionals in the field of visual arts, to share their work and reflect on how contemporary artistic practices have been and are dealing with these haunted archives of livingness. — Program chair Dr. Vanessa Badagliacca —

The archive, in its variables of collecting private or public documents, relating to a person, family, municipality or state, is configured as a circumscribed place, with limited access or reserved for specific users. Its historical connection – especially the archive as institution – with power and various forms of long-standing hegemony, while it has contributed to arousing its fascination and a certain aura of mystery in recent decades, has been paralleled with a profound questioning and recognition of its problematic “neutral technology” (Azoulay, 2019). To consider that a collection of written texts, visual works, volumes, and photographs, and moving images composes a corpus can lead us back to the etymology of the Latin term, which takes on this meaning much later. Before, it referred to a body, individual, person, or living being, as well as a corpse, inanimate body, matter, organism, and structure. If we then maintain the polysemy of the corpus to diversify the archives in which they live, we will suddenly find ourselves faced with a variety of typologies that expand the very notion of the archive, push it out of protective walls, dirty it, contaminate it and regenerate it, making it living matter and in constant metamorphosis (Coccia, 2020). We can read this corpus as an archive that selfgenerates, feeds itself, feeds back, tells itself, passes on, and lets itself be consulted. A system of knowledge that owns itself as an archive, which “should be seen as a contact zone between past and present but also between temporally diverse and interconnected processes of documenting and consuming information” (Tortorici, 2018), available to be activated and put into relation in a constant becoming in transformation. What can this approach teach us about the wonder, the abject, the beauty, the waste in the planet when they become “haunted archives of livingness” (Subramaniam, 2024)? In this context, photography emerges as a central medium through which haunted archives are constituted, activated, and contested. Photographs not only preserve the visual remnants of ecological and political violence, but also act as spectral witnesses— carriers of both memory and omission. What role does the photograph play in embodying “livingness” or decay? How can photographic archives resist the logics of extractivism, classification? Confronted with climate change, overdevelopment, ecological devastation, environmental crises, energy dependence, poverty, reproductive injustice, unsustainable agriculture, and food insecurity, to name just a few, “seeking to understand the world as embrangled in its histories is the urgent project before us.” (Subramaniam, 2024) How can we look at the geological traces, at the rivers’ flow, at the accumulation of waste, at the dialects of folk proverbs and storytelling, at “invasive” plant species, at the physical space occupied to store our digital data and see them, observe them, sense them and create through them? Would we be able to look at them with the attention devoted to documents preserved and protected in archives without falling into the trap of “classification, tagging, and naming of different groups to form a human index” (Azoulay, 2019), or –by contrast– would we be able not to forget or ignore them but rather to embrace a project of care? Envisioning art—and cultural practices more broadly—as an empowering means at our hands to cultivate a utopia for a better liveable future, the 6th edition of the International Conference Reframing the Archive brings together scholars, researchers, visual artists and other professionals in the field of visual arts, to share their work and reflect on how contemporary artistic practices have been and are dealing with these haunted archives of livingness. — Program chair Dr. Vanessa Badagliacca —

The archive, in its variables of collecting private or public documents, relating to a person, family, municipality or state, is configured as a circumscribed place, with limited access or reserved for specific users. Its historical connection – especially the archive as institution – with power and various forms of long-standing hegemony, while it has contributed to arousing its fascination and a certain aura of mystery in recent decades, has been paralleled with a profound questioning and recognition of its problematic “neutral technology” (Azoulay, 2019). To consider that a collection of written texts, visual works, volumes, and photographs, and moving images composes a corpus can lead us back to the etymology of the Latin term, which takes on this meaning much later. Before, it referred to a body, individual, person, or living being, as well as a corpse, inanimate body, matter, organism, and structure. If we then maintain the polysemy of the corpus to diversify the archives in which they live, we will suddenly find ourselves faced with a variety of typologies that expand the very notion of the archive, push it out of protective walls, dirty it, contaminate it and regenerate it, making it living matter and in constant metamorphosis (Coccia, 2020). We can read this corpus as an archive that selfgenerates, feeds itself, feeds back, tells itself, passes on, and lets itself be consulted. A system of knowledge that owns itself as an archive, which “should be seen as a contact zone between past and present but also between temporally diverse and interconnected processes of documenting and consuming information” (Tortorici, 2018), available to be activated and put into relation in a constant becoming in transformation. What can this approach teach us about the wonder, the abject, the beauty, the waste in the planet when they become “haunted archives of livingness” (Subramaniam, 2024)? In this context, photography emerges as a central medium through which haunted archives are constituted, activated, and contested. Photographs not only preserve the visual remnants of ecological and political violence, but also act as spectral witnesses— carriers of both memory and omission. What role does the photograph play in embodying “livingness” or decay? How can photographic archives resist the logics of extractivism, classification? Confronted with climate change, overdevelopment, ecological devastation, environmental crises, energy dependence, poverty, reproductive injustice, unsustainable agriculture, and food insecurity, to name just a few, “seeking to understand the world as embrangled in its histories is the urgent project before us.” (Subramaniam, 2024) How can we look at the geological traces, at the rivers’ flow, at the accumulation of waste, at the dialects of folk proverbs and storytelling, at “invasive” plant species, at the physical space occupied to store our digital data and see them, observe them, sense them and create through them? Would we be able to look at them with the attention devoted to documents preserved and protected in archives without falling into the trap of “classification, tagging, and naming of different groups to form a human index” (Azoulay, 2019), or –by contrast– would we be able not to forget or ignore them but rather to embrace a project of care? Envisioning art—and cultural practices more broadly—as an empowering means at our hands to cultivate a utopia for a better liveable future, the 6th edition of the International Conference Reframing the Archive brings together scholars, researchers, visual artists and other professionals in the field of visual arts, to share their work and reflect on how contemporary artistic practices have been and are dealing with these haunted archives of livingness. — Program chair Dr. Vanessa Badagliacca —

The 5th edition of the Reframing the Archive conference seeks to explore the intersections of archival art and research within contemporary art, addressing both as integral and complementary facets of a broad and complex field of study. The conference will examine how archives serve as a structural model for artists working across diverse backgrounds and practices, while also being essential resources for historiographical studies of contemporary art, thanks to the wealth of information preserved within them. Key questions for discussion include: How can archival art be historicized or reinterpreted in today’s context? What tools and definitions (or counter- definitions) are useful in this endeavor? How are contemporary artists engaging with traditional archival paradigms, and what new possibilities are they inventing? Furthermore, how do archives “speak” about contemporary art, and what approaches can be used to interpret them as historical sources? The conference will also delve into how visual archives contribute to the construction of national narratives, their role in decolonization efforts, and emerging case studies in this area. Finally, it will examine how institutions dedicated to historical knowledge can be promoted and reimagined in the current cultural landscape. PROGRAM (Sept 27) 10:00 | Opening remarks Ana Catarina Pinho, Annalisa Laganà 10:10 | Guest Speaker: REIN JELLE TERPSTRA​ RFK Funeral Train - The People's View. The reversed perspective​ FILMSCREENING — Conversation moderated by Ana Catarina Pinho ​​ 11:30 | PANEL VII: HISTORIOGRAPHY Moderator: Annalisa Laganà (Università della Callabria) ​ "The Canadian Centre for Architecture, Montreal (1979-1999). The photographic collection as a platform for the creation and dissemination of architectural knowledge" Natália Correia Brandão, Technical University of Munich — "The Diary of Polish Art Life 1945-1989. The Case of the 20th and 21st Century Visual Art Documentation Department at the Institute of Art, Polish Academy of Sciences" Karolina Labowicz-Dymanus, Institute of Art, Polish Academy of Sciences — "A toolkit for artists and illustrators. The photographic archive Matania in Naples" Gaia Salvatori, Università degli Studi Suor Orsola Benincasa ​ ​ 12:30 | PANEL VIII: ATLASES Moderator: Jennifer Good (University of the Arts London) ​ "Navigating Difference. Myth, Body, and Desire in Hudinilson Jr.'s Cadernos de referências Dis-Archive Practice" Simone Rossi, Università Iuav di Venezia / Universidade de São Paulo — "Transforming Historical Maps into Personal Narratives. "Dialectical contemporaneity’ at the University of Porto" Nelson David Correia Lopes, I2ADS / FBAUP Universidade do Porto — "From Atlas to Archive. William Eggleston’s Election Eve, 1976" Alexandra Ruth Nicolaides, John Jay College of Criminal Justice, CUNY ​ 13:30 | BREAK ​​ 14:30 | PARALLEL PANELS PANEL IX: INTERDISCIPLINARY APPROACHES Moderator: Marta Labad (UTAD, Spain) ​ "Archiving the Disaster. Preservation, Separation and Encounter" Ioanna Sakellaraki, RMIT University — "In Search of Ghosts. Archival Instability and Plant Extinction" Liz Orton, LCC University of the Arts London​​ ​ PANEL X: MEMORY Moderator: Ana Catarina Pinho (Universidade Nova de Lisboa​) ​ "Mediating the Past, Making (in) the Present. Contemporary Artistic Practices from Turkey and the Construction of Memory Around 6-7 September 1955" Defne Oruç, London College of Contemporary Arts — "Wellow: Recounting ancestral memories of place through lens-based autobiographical practice" Sally Waterman, University for the Creative Arts, Epsom UK — "The artist’s archive as a collective task. Reconstructing memories of a lost Venezuela" Amalia Caputo Dodge, Universitat Oberta de Catalunya ​​ ​ 15:30 | PARALLEL PANELS PANEL XI: MUSEUMS Moderator: Annalisa Laganà (Università della Callabria) ​ "On Establishing the Book Arts Archive of the Caversham Press and Centre for Artists and Writers" David Murray Paton, University of Johannesburg, South Africa — "Live archive to live art" Nina Rahe, University of São Paulo — "Listening colonial photographs. Adwa and my Sonic Journey in Decolonizing Museums" Livia Dubon Bohlig, Kingston University, London ​ PANEL XII: DIGITAL TECHNOLOGIES Moderator: Andrés Pachón (University of Coimbra) ​ "Curating the Internet. Photo-Archival Practices in the Work of Evan Roth" Yonit Aronowicz, Paris Cité University — "Rewilding the Digital Archive. An Artistic Exploration of the Bug as a Queer and Decolonial Agent" Martina Denegri, Univeristy of Groningen ​​​ ​​ 16:30 | PARALLEL PANELS PANEL XIII: PRACTICES Moderator: Evan Hume (Iowa State University) ​ "Artists' Multiples: Archives in Motion" Jim Drobnick, OCAD University, Toronto Jennifer Fisher, York University, Toronto — "The archive as artistic practice. Dayanita Singh’s constructed contact sheet photographic archives" Deborah Schultz, Regent's University London — "Museum, archive, phantoms" Agnieszka Rayss, Social Science and Psychology University, Warsaw ​ PANEL XIV: PROJECTS Moderator: Marta Labad (UTAD, Spain) ​​ "From fluid art to fluid archive. A dive into an online documentation project of ephemeral art and action since the 1960s" Annemarie Kok, University of Groningen — "Experiencing the University Archives through Curated Learning Teaching in the Visual Arts with the Help of Primary Sources" Lindsay Demchuk, University of Regina — "Challenges of Establishing and Preserving the Collection The Case of Vera Dajht-Kralj’s archive" Karla Lebhaft, University of Zagreb Ana Kršinic Lozica, University of Zagreb Ivana Završki, Independent Researcher ​​ 17:30 | CLOSING SESSION

The 5th edition of the Reframing the Archive conference seeks to explore the intersections of archival art and research within contemporary art, addressing both as integral and complementary facets of a broad and complex field of study. The conference will examine how archives serve as a structural model for artists working across diverse backgrounds and practices, while also being essential resources for historiographical studies of contemporary art, thanks to the wealth of information preserved within them. Key questions for discussion include: How can archival art be historicized or reinterpreted in today’s context? What tools and definitions (or counter- definitions) are useful in this endeavor? How are contemporary artists engaging with traditional archival paradigms, and what new possibilities are they inventing? Furthermore, how do archives “speak” about contemporary art, and what approaches can be used to interpret them as historical sources? The conference will also delve into how visual archives contribute to the construction of national narratives, their role in decolonization efforts, and emerging case studies in this area. Finally, it will examine how institutions dedicated to historical knowledge can be promoted and reimagined in the current cultural landscape. PROGRAM (Sept 26) 10:00 | Opening remarks Ana Catarina Pinho, Annalisa Laganà 10:15 | Guest Speaker: COSTANZA CARAFFA​ Reinventing the archive space, performing the Photothek​ — Conversation moderated by Annalisa Laganá ​ 11:30 | PANEL I: ARTISTS' ARCHIVES​ Moderator: Ana Catarina Pinho (IHA-Universidade Nova de Lisboa) "From a Work Collection to an Art Archive" Vanessa Scharrer, Elfie Semotan Private Archive — "'Thinking Through’ the Artist’s Archive. Ursula Schulz-Dornburg, a complex case study" Lucy J. Rogers, University of Westminster ​​ 12:30 | PANEL II: IDENTITY Moderator: Paola Scirchio (Università della Callabria) ​ "Exposed Fractures. Unraveled Explorations of the Representation of Nature in the Andes Mountains of Chile" María del Rosario Montero Prieto, Pontificia Universidad Catolica de Chile and Universidad Finis Terrae — "Clipping and Cropping. Towards a (Re)Reading of the Pictures Generation through the Archival, the Photographic and the Editorial" Javier Iáñez Picazo, Complutense University of Madrid — "Nomadic Memories as Artistic Archives. Central Asian Counter Narratives in Gulzat Egemberdieva’s Films" Birgit Eusterschulte, Freie Universität Berlin ​ 13:30 | BREAK ​​ 14:30 | Guest Speaker: LINDA FREGNI NAGLER How to Look at a Camera​ ​—​ Conversation moderated by Annalisa Laganá ​ ​ 15:30 | PARALLEL PANELS PANEL III: COLONIALITY, POST-COLONIALITY, DECOLONIALITY Moderator: Paola Scirchio (Università della Callabria) "Futures of Whiteness in post-colonising space. Interrogating the archive through folding in practice" Sian Gouldstone, Bournemouth University — "‘Every Name in History is I and I is Other’. Speculative Fiction and the Archive in İz Öztat’s with Zişan" Ahmet Furkan Inan, University of Oxford / Ruskin School of Art — "Countervisuality and Resistance. Reframing the Archive in Carl Beam’s Columbus Suite" Stefan Jovanovic, Concordia University ​ PANEL IV: COUNTER-ARCHIVES Moderator: Ana Catarina Pinho (Universidade Nova de Lisboa) ​ "Material Memories - Material Secrets. Scrutinising Switzerland's Role in the Second World War through a Counter-archive" Vera Zurbrügg, LCC, University of the Arts London — "Epistemic Disobedience in the “Shadow Archive”. (Neo)Physiognomic Concerns in Italian Activist Art" Giorgia Ravaioli, Università di Torino ​ ​ 16:30 | PARALLEL PANELS PANEL V: CRITIQUE Moderator: Marianna Tsionki (Leeds Arts University) ​ "Susan Dobson. Slide⏐Lecture. A Model and a (Res)source for Archival Critique in Contemporary Photography" Audrey Leblanc, EHESS, Paris Gaelle Morel, Toronto Metropolitan University — "An Archival Impulse. Twenty Years Later" Rita Cêpa, CIEBA-FBAUL, IHA-NOVA FCSH/IN2PAST — "Restoring history, recreating the past. The use of archives in performance-lectures by contemporary artists" Gabriela Sá, Federal University of Minas Gerais ​​​ PANEL VI: POLITICAL FRAMES Moderator: Elisabeth Friedman (Illinois State University) ​ "Mess and destruction at archival interfaces" Savannah Dodd, Photography Ethics Centre/Queen's University Belfast — "A Reflection on “Archival Practices”. Archive as Artwork, Artwork as Archive in Vadim Zakharov" Alessandra Franetovich, University of Florence ​​ 17:30 | CLOSING SESSION

Sept 23, 2023 IMAGE, ARCHIVE, AND CONFLICT (Im)material Ecologies in the Digital Age The conference aims to critically examine the relationship between images, the archive and conflict across past and present, long duration and real time. It seeks to explore the impact of digital media on the status and development of technical images.as well as its consequences in historical conscience, present and future imaginaries. Focusing on the production, circulation, and archiving of images, this conference will address two main perspectives: on the one hand, it aims to explore the materialities and immaterialities of archival production within the digital age in regard to contemporary critical appropriations through visual arts that address, assess and contest past and present conflicts, history’s repressed events and violations. On the other hand, it intends to examine the techno-aesthetics of datafication, understanding artistic strategies as potential sites for resisting and counter-acting current extractivist processes, which tend to capture and transform everyday life into data. Keynote Speaker DRA. SARA CALLAHAN, University of Stockholm, Sweden Guest Speaker PEDRO LAGOA, Visual Artist Panel Speakers FILIPE FIGUEIREDO & LAURA PERALTA, European University, Portugal JONE RUBIO MAZKIARAN, Euskal Herriko Unibertsitatea, Spain MAYRA VILLAVICENCIO PRINCIPE, University of Barcelona, Spain ELIÁN STOLARSKY, Universidad Complutense, Spain ELISABETH R. FRIEDMAN, Illinois State University, United States PAULA ROUSH, London South Bank University, United Kingdom ALEXANDRE GOUIN, Federal University of Rio de Janeiro, Brazil NICHOLAS ANDUEZA, Federal University of Rio de Janeiro, Brazil / Université Paris 1 - Panthéon-Sorbonne LUCAS MURARI, Federal University of Rio de Janeiro, Brazil SEBNEM CAKALOGULLARI, Istanbul Technical University, Turkey SHRUTI NAGPAL, AJK Mass Communication Research Center, JMI New Delhi, India — More info about this event: https://www.archivoplatform.com/post/rta23-program www.reframingthearchive.com

Sept, 22 2023 IMAGE, ARCHIVE, AND CONFLICT (Im)material Ecologies in the Digital Age The conference aims to critically examine the relationship between images, the archive and conflict across past and present, long duration and real time. It seeks to explore the impact of digital media on the status and development of technical images.as well as its consequences in historical conscience, present and future imaginaries. Focusing on the production, circulation, and archiving of images, this conference will address two main perspectives: on the one hand, it aims to explore the materialities and immaterialities of archival production within the digital age in regard to contemporary critical appropriations through visual arts that address, assess and contest past and present conflicts, history’s repressed events and violations. On the other hand, it intends to examine the techno-aesthetics of datafication, understanding artistic strategies as potential sites for resisting and counter-acting current extractivist processes, which tend to capture and transform everyday life into data. Keynote Speaker PROF. ANNA MARÍA GUASCH, University of Barcelona, Spain Guest Artist EMERIC LHUISET, Visual Artist Panel Speakers: GUSTAVO BALBELA, Indepentent Researcher JOANA BRITES, University of Coimbra, Portugal PAUL LOWE, University of the Arts London, United Kingdom SADIE BARKER, Concordia University, Canada ELENA ROSAURO, University of Zurich, Switzerland MARÍA PIQUERAS-PÉREZ, University of Murcia, Spain AMALIA CAPUTO DODGE, Universitat Oberta de Catalunya, Spain DANIELA CIFUENTES ACEVEDO, Independent Researcher MANUEL PADÍN FERNÁNDEZ, Universidad Autónoma de Madrid, Spain BÁRBARA BERGAMASCHI NOVAES, PPGCOM-UFRJ / CIEBA, Universidade de Lisboa, Portugal EDUARDA KUHNERT, Independent Researcher, Brazil ANA PERAICA, Danube University, Austria ALESSANDRA FREDIANELLI, Università di Genova, Italy JANE MCARTHUR, University of Edinburgh and Imperial War Museum, London — More info about this event: https://www.archivoplatform.com/post/rta23-program www.reframingthearchive.com

REFRAMING THE ARCHIVE International Symposium on Photography and Visual Culture — 19 November 2022 TIME AFTER TIME: Pictures between instant and duration — GUEST SPEAKERS: Cortis & Sonderegger — "MAKING OF ICONS" In our photo series Icons, we have been recreating icons of photo- graphic history as three-dimensional dioramas in our studio since 2013. The models are then photographed. This results in images that seem to resemble the originals to a hair’s breadth. The seamless illusion is immediately undermined, however, by bringing the studio setting and the traces of the working process into the picture. Scenes that have inscribed themselves deeply in the collective memory - the burning Twin Towers, Robert Capa’s falling militiaman in the Spanish Civil War, or Stuart Franklin’s shot of the “Tank Man” from Tian’anmen Square, which won a World Press Photo Award in 1990 - rise up among tripods, soft boxes, Stanley knives, and the remains of model kits. Icons is at once a homage to photographic history, a humorous appropriation of its pillar saints, and - in the double staging of motif and studio situation - a reflection on the ways in which the medium functions. In times when alternative facts are handled in too many places, our images encourage reflection on the fragile truth of photography, the relationship between authenticity and construction, and the importance of context and perspective. Session moderated by Ana Catarina Pinho — Jojakim Cortis and Adrian Sonderegger began their collaboration in 2006 at the Zurich University of the Arts in Switzerland. Their photographs have been shown in numerous exhibitions around the world, including at the MET in New York (US), Museum Folkwang in Essen (D), Fotostiftung Schweiz (CH), Lianzhou Foto Festival (CHN), and C/O Berlin (D). Their book “Double Take” was published in 2018 by Thames & Hudson (GB), Lars Müller Publisher (CH) and by Seigensha (JP).