Resurgent Histories, Insurgent Futures

In conjunction with the exhibition, a film series has been organized for the Slought mediatheque which will screen daily. The series will feature films by Frente 3 de Fevereiro and Julian d'Angiolillo.

Participating artists and groups

Founded in Buenos Aires in 1997, Etcétera... is a multi-disciplinary collective of visual artists, poets, and performers whose work combines radical left social critique with iconoclasm, surrealist aesthetics, and a penchant for irony, black humor, and grotesquerie. In addition to their participation in cultural institutions, they have regularly produced street performances and actions that bring conceptualist aesthetics and a ludic sensibility to the art of protest. They have worked within the human rights movement to popularize exposure protests known as escraches, which serve as a form of popular justice not beholden to state institutions, and have contributed to this form of direct action with a unique form of materialist street theater. Their work also pushes human rights discourse towards a reckoning with class domination, imperialism, and economic terrorism. In 2005, Etcétera... helped found the Internacional Errorista [International Errorist], an international movement that "claims error as a philosophy of life."

Grupo de Arte Callejero [Street Art Group], known as GAC, is a Buenos Aires-based art group whose practice fuses artistic production and direct action. Since its founding in 1997, GAC has participate in Argentina's human rights movement, which has been the principle force for condemning state terrorism under the country's last dictatorship and bring its perpetrators to justice. GAC's guerrilla interventions in public spaces have contributed to the organization of exposure protests ( "escraches"), which are a key tactic for building a social condemnation of war criminals and state violence. GAC's work provides a counter-mapping of urban space, marking out the material traces of past practices of state terrorism, as well as their continuities with ongoing forms of state violence deployed by the neoliberal democratic state.

The Iconoclasistas combine counter-cartography, collaborative research, and graphic design to produce materialist analyses of social conflicts that are useful for collective practices of resistance to capitalist and colonial forms of domination. With roots in traditions of critical pedagogy and militant research, the Iconoclasistas' collective mapping workshops foment collective modes of producing and representing knowledge about social conflicts, giving particular attention to their spatial and

territorial dimensions. These workshops have generated representations of grass roots struggles for social and environmental justice throughout Latin America, making visible actual and possible connections among disparate resistance movements. Active since 2006, the Iconoclasistas produce and disseminate their work in the spirit of the free culture movement, as it can be downloaded, copied, modified and circulated freely.

Fran Ilich is an artist and writer based in New York City who works in the theory and practice of narrative media, experimental economies and finance, and hacktivism. This exhibition features material from his anticolonial alternate reality game Raiders of the Lost Crown (2013), in which players were charged with re-capturing a legendary pre-Columbian Mexica headdress from an Austrian museum. As its gameplay unfolded through epistolary exchanges, performance, a guerilla intervention at the museum, and participation in the solidarity economy of Zapatista coffee, it became clear that the game's mission was not quite what it seemed. With mordant wit and calculated deception, Raiders puts on display the colonial character of museums, neoliberal economic regimes, the Mexican state's indigenismo, and the geopolitical determinations that define debt and property.

The Pocho Research Society for Erased and Invisible History is a guerrilla art collective and semi-fictional historical society in Los Angeles founded by artist Sandra de la Loza in 2002. History and social memory are its primary object of investigation. Using conceptualist strategies, guerrilla interventions, and evocative poetics, their work interrogates the politics of dominant forms of historical production and models alternate ways of conceptualizing the past and its relation to the present. Their guerrilla counter-memorials trace connections between historical erasure and territorial displacement, especially as it pertains to the histories, practices, and spaces of subaltern Latina/o/xs and Native Americans in Los Angeles.

Frente 3 de Fevereiro, whose name means February 3rd Front, is a transdisciplinary research and art group based in São Paulo. Their artistic-political interventions address the entwined phenomena of racism, coloniality, state violence, and mechanisms of social exclusion. In addition to their extensive work in Brazil, Frente has also carried out research and produced projects in Argentina, Colombia, Ecuador, Germany, South Africa and the USA. The exhibition and Mediatheque program feature several films by the collective and its members.