Qalqalah #1

<p>“A movement of language, a phonetic vibration, a rebound or an echo” — these are a few possible meanings of the Arabic word قلقلة (<em>Qalqalah</em>). In the futuristic fable by author and curator Sarah Rifky, <em>Qalqalah</em> is also the name of the polyglot heroine, who gradually loses her memory in a not too distant future where notions of language, art and economy such as we know them today have quietly collapsed. In this world of re-edited knowledge — a world we are not sure whether to fear or hope for — the word Qalqalah resonates as one way of navigating. We, in turn, are now borrowing the word to give a name to the “reader” that we have developed as a response, an echo, to the studies led by Bétonsalon – Centre for Art and Research and Kadist Art Foundation that will be extended and amplified over successive installments published on the web…</p> <p><strong><em>Toba Tek Singh</em>, 1955</strong><br /> Saadat Hasan Manto</p> <p><strong>Decolonization in adversity: Cultural constellations through the prism of <em>Présence Africaine</em>, 2015</strong><br /> Lotte Arndt</p> <p><strong>Getty vs Kenya vs Corbis, 2012</strong><br /> Maryam Jafri</p> <p><strong>Republic Day 1958 and Independence Day 1960 in Antananarivo, 2012</strong><br /> Helihanta Rajaonarison</p> <p><strong>Some Sketches for a Hypothetical <em>Postcolonial Theories for Museums Handbook</em>, 2014</strong><br /> Marie-laure Allain Bonilla</p> <p><strong>Why the Forest is the School, 2014</strong><br /> Pedro Neves Marques</p> <p><strong>La Croisière Noire, 2015</strong><br /> Emma Wolukau-Wanambwa</p> <p><strong>Be-side(s) work, friends and traces, 2014-2009</strong><br /> Em’kal Eyongakpa</p> <p><strong>Connected Africa Photographic communities in the digital age, 2014</strong><br /> Erika Nimis et Marian Nur Goni</p> <p><strong>Qalqalah: The Subject of Language, 2014</strong><br /> Sarah Rifky</p>