“ARCHIVE 00:01 (THE EMBRACE OF – HISTORY)”
“ARCHIVE 00:02 (QUAMRUL HASSAN REDUX)”
“ARCHIVE 00:03 (AL-ASR ULTRA)”
The archival process – meant to arrange, identify, and categorize fragmentary parts – often produces a contrary phenomenology. Qualities of non-linearity, discontinuity, the intimate transhistoricity of all objects and memories. The former archive, the archive assumed by historians, may be little else than a dream-space, a space in which the sum of all experiences can be ordered and forever seared upon them a unique, singular time and place. But this historian's dream-space and dream-method does not necessarily exhaust what the archive is/can be. Archives herein offer fluid and numberless origins, appearances, places, and temporalities.
The archive as constellatory. Archiving as a twilight art, a horizon neither luminous nor dark. A nebulous spatialization of memory, struggle, time, bi-locations, becomings, et al. Fragments severed from the tethers of Hegelian time-and-space, not found in national museums or government facilities, but borne from vernacular practices: desktop screenshots, family photo albums, browser bookmarks, diary entries. Nostalgic artefacts, political idioms, fractured claims of identity. A Bangladeshi heritage of anti-fascism, Amiri Baraka and the Black Arts Movement, Regent Park and St. James Town, Islamic dream interpretation, immigrant first winters.
I would like to express my gratitude to Donna Chang and the grants committee at New College. Without Ms. Chang's guidance, I would not have been able to attend my inaugural show in New York. I would also like to thank the organizers of "Soon: South Asian Evocations and Becomings" – Ayqa Khan, Somnath Bhatt, Noor Bhangu, and Priyanka Voruganti.