“…not a Luxury”: Radiofonizing the Archive of Resistance.


Diásporas Críticas (Anyely Marin, Veronica Lahitte, Rebecca Close) present a performance-reading of “…not a luxury”, a proposal to “radiofinize” A Stage for Any Revolution.

At the end of the seventies, the guerrilla-radio was a tool used to give voice to multiple projects of self- and collective invention, aiding the emergence of feminist, black feminist, anti-colonial and decolonial resistence. At the centre of these activisms, Audre Lorde (1977) differentiated a form of logical writing from a vital poetry: “Poetry is not a luxury”. Since then, silence has been diagnosed as a mode of domination, while poetry appears repeatedly as a tool of resistance.

“…not a luxury” approaches radio as a methodology that moves beyond its use as a box for distributing content. Radiofonization seeks rather to dissolve the boundary between the apparatus of radio (and its capacity to fragment and distribute voice, time and sound) and the languages of resistance invented and accumulated in the feminist and decolonial struggles. In line with the objectives of The Stage For Any Revolution, “…not a luxury”: Radiofonizing the Archive of Resistance aims to enunciate and activate past knowledge and strategies for intervention into the present.

For the performance-reading “…not a luxury”, Diasporas criticas will read a selection of texts from their archive of poetry, manifestos and speeches (developed between 2012-present), in an exercise of radiofonization, exploring the question: what else is not a luxury?

About Diasporas criticas:

Diasporas criticas is a platform for artistic research that functions as a space of resistance to the neoliberal politics of racial and sexual surveillance. Operating out of the neighbourhood of Raval in Barcelona, the platform is activated by Verónica Lahitte (Buenos Aires, 1980), visual artist; Rebecca Close (Londres, 1987), researcher and writer; Anyely Marín Cisneros (Caracas, 1977) researcher, professor and producer of social television. They work with an archive of feminist, queer and decolonial poetry, manifestos and speeches and their projects aim to creatively activate these historical poetic-political languages of transformation. In collaboration with other critical diasporas they research, perform, read, archive, write, enunciate, publish, argue, produce, film, love, coordinate, discuss, do radio and present as tools of self- and collective decolonisation.

They have developed their research-action projects with the kind support of Museu d’Art Contemporani, Tate Liverpool, L’Internationale, Ars Santa Monica y Idensitat Translocations, LAB2014: El reverso de la paz, LabIAL, Centro de Investigaciones Artisticas Buenos Aires, Art Asia Pacific Magazine, Institut Ramon Llule and the culture@work European Union Fund.


Kiani Del Valle
Las casas invisibles
Sunday 12 July, 4pm
A Stage for Any Revolution, Nutford Place W2 2DZ

Artist, dancer and choreographer Kiani Del Valle presents Las casas invisibles for Alia Farid’s A Stage for Any Revolution.

Las casas invisibles ( The invisible Houses )

When time is shifted, reality conflicted and your needs and desires don’t exist where you are standing allegories are created. An imaginary character that lives in imaginary places looking for something that gives meaning to her-his existence. Finding out in the end that the meaning has always been there but the exterior have never match its purpose. “‘Las casas invisibles” is a solo withing 3 solos created between San Juan Puerto Rico , NYC and Montreal.


About Kiani Del Valle Born and raised in San Juan, Puerto Rico, Kiani has danced professionally in NYC, Montreal, and Berlin. Del Valle’s trajectory includes training in Schools and companies such as; Andanza Contemporary Dance School, Alvin Ailey American Dance Theater NYC, Sasha Waltz & Guest Berlin , and Matanicola Berlin. She has developed a unique teaching curriculum in Contemporary Dance, Dance Film, as well as becoming the main movement coach for several singer in the city of Berlin. In the past year Kiani has choreographed many music videos for artists including The Beatsteaks, Brandt Brauer Frick, Mathew Dear, Emika, Chasing Kurt, Kyson, Materia, Tim Ryoko & Philippe Lemott, Los Walters, We Are Wolves, Kasper Bjorke and most recently Miss Platnum, Rammstein, and Floating Points . She toured Russia and performed selected shows in Germany and France with Berlin based, British singer Emika under Ninja Tune Record Label. She is dancing for choreographer Melanie Lane on selected shows of CLARK under Warp Records London. Kiani teaches and performs in Germany, across Europe and the Middle East. Del Valle is a concept artist whose main form of expression is movement, this is seamlessly translated into stage , film and performance work. She lives in Berlin and is currently working on a series of Dance Films in collaboration with several music and film artist.

View images from the performance:

Check the recent interview with KALTBLUT Magazine Berlin


Recent work for Kasper Bjorke

Choreography for Berlin trio BRANDT BRAUER FRICK

Last improv fun of the year! Hannes Caspar, Berlin

Check the new Matthew Dear album promo were am featured

Bright Echo/Acts of Memory – Tyburnia
Sophia Al-Maria
18 July, 3.30pm
Nutford Place W2 2DZ


Bright Echo presents the listener with a sonic landscape composed of the internal monologues and secrets of the street.

You can download it from here or on shubbak.co.uk from 18 July 2015.

To mark the launch of Bright Echo, Sophia Al-Maria has responded to Alia Farid’s A Stage for Any Revolution by organising Acts of Memory – Tyburnia, a performance of Monica Ross’ original piece Anniversary – an act of memory which is a collective, multilingual recitation of the Universal Declaration of Human Rights. Acts of Memory – Tyburnia will be performed at 3.30pm at Nutford Place.

A collaboration between Mathaf: Arab Museum of Modern Art in Qatar and the Edgware Road Project at the Serpentine Galleries, Continuous City: Mapping Arab London is a publication that attempts to map London through its historical and contemporary Arab communities.Continuous City features work by Sophia Al Maria, Oraib Toukan,Lawrence Abu Hamdan, Inas Halabi, Maan Abu Taleb, Michael Vazquez and Sheyma BuAli among others. The publication is edited by Amal Khalaf and Deena Chalabi. The publication will be available for download on iTunes in 2016.

Sophia Al-Maria is a writer who lives in London now. In 2012 her first book, The Girl Who Fell to Earth received high praise in the United States from The New York Times to Elle Magazine and is being published in Arabic as Between the Earth and the Sky this year. In January 2015 Sophia was selected for the Sundance Institute’s Screenwriting Lab where she worshipped her Egyptian revenge thriller, Beretta. Her first solo show Virgin with a Memory at Manchester’s Cornerhouse drew on the subject matter of the film and the un-making of it.

Bright Echo is commissioned by the Serpentine Galleries, the British Council and Shubbak.

For more information, or to take part in the performance please contact Projects Curator Amal Khalaf on amalk@serpentinegalleries.org

Launching Saturday 11 July, 3.30pm
Nutford Place, W2 2DZ


A Stage for Any Revolution is an open modular ‘stage’ by artist Alia Farid based on an architectural model from 1929 by constructivist set designer, Victor Shestakov. The stage, re-envisaged for Edgware Road will be used by the public in different ways; for long-distance participation in events happening across the Arab world, for sitting together to share discussions, for making declarations or speeches, for convening groups of people, and hosting events.

Alia Farid will take up residence on the Edgware Road, and over the course of the Shubbak festival the ‘stage’ will come to life from 11-20 July, with a series of performances, reading groups, the production of a publication with Dani Lloveras and the launch of Bright Echo, a sound commission by Sophia Al-Maria.

On 11 July, Alia Farid will launch the stage with a performance of Zoe Leonard’s I want a President… in Arabic and English. This collective reading is part of an ongoing project initiated by artists Malin Arnell, Kajsa Dahlberg, Johanna Gustavsson and Fia-Stina Sandlund in collaboration with artist Zoe Leonard. On July 18, Sophia Al-Maria organises Acts of Memory – Tyburnia, a performance of Monica Ross’ original piece Anniversary – an act of memory which is a collective, multilingual recitation of the Universal Declaration of Human Rights.

A Stage for Any Revolution will be running from 3 – 7pm on the following dates with performances at the indicated times below:

Saturday 11 July – 3.30pm a collective reading of Zoe Leonard’s I want a president… in English and Arabic

Sunday 12 July – 4pm a performance by dancer Kiani del Valle; 6pm … not a luxury a performance-reading by diásporas críticas

Monday 13 July – Closed

Tuesday 14 July – Open stage, Alia Farid and Dani Lloveras

Wednesday 15 July – Open stage, Alia Farid and Dani Lloveras

Thursday 16 July – Open stage, Alia Farid and Dani Lloveras

Friday 17 July – Open stage, Alia Farid and Dani Lloveras

Saturday 18 July – 3.30pm Acts of Memory – Tyburnia performance of Monica Ross’ original piece Anniversary – an act of memory, a collective, multilingual recitation of the Universal Declaration of Human Rights. Organised by Sophia Al-Maria. To coincide with the launch of sound commission Bright Echo by Sophia Al-Maria, available on the Serpentine Galleries and Shubbak website.

Sunday 19 July – 4pm performance workshop by Implicated Theatre

Monday 20 July – 6pm a series of performances by Colette Dalal Tchantcho and Balquis Duval

A Stage for Any Revolution is the result of six months’ research as part of the residency programme From Neighbourhood to Neighbourhoods. Alia Farid undertook this residency with the Serpentine Galleries’ Edgware Road Project in summer 2013 and at Mathaf Museum of Modern Arab Art, Doha in spring 2014. The resident artists investigated the possibilities for public life by generating interest in shared spaces, values, and responsibilities over the development of these neighbourhoods that shape our cities.

Alia Farid (b.1985) is a Kuwaiti-Puerto Rican visual artist who works at the intersections of art and architecture on the activation of spaces for critical thinking and action. She holds a Bachelor of Fine Arts from La Escuela de Artes Plásticas de Puerto Rico (Viejo San Juan), a Master of Science in Visual Studies from the Visual Arts Program at MIT (Cambridge, MA), and a Master in Museum Studies and Critical Theory from the Programa d’Estudis Independents at the Museu d’Art Contemporani de Barcelona (Catalonia). She has completed residencies at Beta Local (San Juan), Casa Árabe (Córdoba), the Serpentine Galleries (London), and Mathaf: Arab Museum of Modern Art (Doha). Her most ambitious project to date has been curating the Pavilion of Kuwait at the 14th International Architecture Exhibition, which –despite its appearance at la Biennale di Venezia– placed emphasis on what participating could induce locally in an environment driven by ideologies incongruent with critical and aesthetic thought.

Commissioned by Serpentine Galleries, Shubbak and the British Council.

For more information, to take part, or to propose an action for A Stage for Any Revolution please contact Projects Curator Amal Khalaf on amalk@serpentinegalleries.org

We Are Implicated, So Are You...

We Are Implicated, So Are You…


Saturday, June 6, 2015, 7pm

The Cockpit Theatre, Gateforth Street, London NW8 8EH

This participatory performance emerges from a series of workshops using Augusto Boal’s Theatre of the Oppressed. Created from thoughts and experiences of its players, its themes of invisibility, discrimination and injustice, achievement, change and aspiration are shared as elements of the experience of going to live in a new city. We are left to ask how we can collectively listen to lives unseen and resist power unchecked.

Implicated Theatre have worked since October 2011 including collaborations with the Migrants Resource Centre, UNITE’s Hotel Workers union and Justice for Domestic Workers with theatre director Frances Rifkin. The experimental workshops explore the relationships between political speech and action, the self and the collective, voice and silence. Forming close relationships with migrant’s rights groups and unions, Implicated Theatre creates theatrical interventions inspired by real-life struggle, and highlighting issues of social justice. This performance will also feature a set designed by artist Karem Ibrahim and films created with the players through a series of workshops at no.w.here.

Tickets: Full price £5; Concessions £4 – Available to Purchase here.

RSVP on facebook.

Tyburnia 4

James Holcombe’s film Tyburnia revisits the site of Tyburn Tree, a place of execution for over 700 years at the junction of Edgware Road and Oxford Street. Here political, religious and judicial transgressions were punished with hanging, burning and gibbeting for public entertainment and instruction.

The film explores parallels between contemporary and historical notions of crime in relation to business and property, the spectacular nature of punishment, and the use of the body as a site for political control. Shooting on 8mm and 16mm film, James Holcombe gained access to numerous artefacts associated with the Tyburn; reliquaries housing the remains of Catholic martyrs, body parts preserved by surgeons, the bell that tolled on the eve of executions, and the eventual resting place of the gallows themselves. Using hand processing and archaic chemical techniques the scenes forming Tyburnia bring forth a film that is both visually and thematically engrossing, demonstrating that despite the gallows having long since vanished, we still stand in the shadow of its punitive ideology.

James Holcombe began researching Tyburn Gallows during a three month residency with the Edgware Road Project in 2009 as part of the no.w.here’s Free Cinema School.

The film will premiere in London at the Carpenters Arms Pub. There is a popular belief that the wood from the gallows was taken to build the rests for beer barrels in the cellar when public executions ceased at Tyburn in 1783.

The screening will feature a live soundtrack developed and performed by Dead Rat Orchestra. It features songs that were composed by or for those condemned to ‘dance the Tyburn jig’, bringing a new understanding to the broadside ballads that have become a staple of folk music, but here presented in close association to their original context.

As part of this screening, Dr Una McIlvenna will also be singing a selection of execution ballads from early modern Europe, and will talk about her research on this song form in conversation with James Holcombe and Dead Rat Orchestra.

Between May and July 2015 The Tyburnia Tour will visit market and county towns around the UK where assizes, gallows, and gibbets were a feature of everyday life. To explore this rich and melancholy history, Tyburnia will be screened and performed as close to the location of various regional gallows as possible. For more up to date information on tour dates please visit the Dead Rat Orchestra website.

James Holcombe’s practice merges a deep engagement with re-discovered historical, material and social processes of photochemical film production through single screen and expanded performance works.

Dead Rat Orchestra is formed by Daniel Merrill, Nathaniel Mann and Robin Alderton. http://deadratorchestra.co.uk/home/4568359502

For more information on the Tyburnia tour please see: http://deadratorchestra.co.uk/the-tyburnia-tour/4587507939

Join resident artists Sam Curtis and Chris Jones on a public walk around Church Street:

The past is easier than the future…who has time to think about the future?

COME WALK TOGETHER: seeing what we see, saying what we say

Please come and join us on a walk around the Church St area on Saturday 16th May at 2pm. This is an invitation to see and say what we can see locally. It’s history, our history and it’s ever-changing, good and bad!


See you there, Sam and Chris

SATURDAY 16th MAY. Meet at 2pm outside Alfies, 13-25 Church St, London NW8.

Walk is structured and guided by all who come.

The twin sisters are about to swap houses-Mohamad Hafeda

The twin sisters are about to swap houses-Mohamad Hafeda

Marking borders – crossing borders: negotiating public space at different levels of conflict

Mohamad Hafeda will discuss the capacity of art and design strategies to negotiate the politics of public space, at varying levels of conflict. He will present two bodies of work; the ‘Social playground’– a project series that focuses on play as a potential catalyst for instigating social public interaction – conducted through his practice Febrik in Palestinian refuge camps in Lebanon and Jordan, and in Sceaux Gardens estate in south London; and ‘Bordering Practices’ – his recent PhD art project series that explores narration and negotiation as forms of documenting and transforming political borders since their resurfacing in Beirut in 2005. The artist will reflect on the use of art processes as urban research tools in site-specific projects which in turn explore different participatory approaches and types of interventions, moving between the site where the research is taking place and the ‘off site’ gallery space.

Febrik are currently in residence on the Edgware Road working with students from Westminster Academy.

Mohamad Hafeda is an artist and a designer whose current research investigates the negotiation of spaces of political-sectarian conflict and the interplay between material and immaterial borders in contemporary Beirut. He is a founding partner with architect Reem Charif of Febrik, a collaborative platform for participatory art and design research active in Palestinian refugee camps in the Middle East and marginal contexts in London. He recently completed a PhD degree in Architectural Design at the Bartlett School of Architecture, University College London. He is the co-editor of “ Narrating Beirut from its Borderlines” (Heinrich Boll Foundation, 2011), and Febrik’s new publication “Creative Refuge” (Tadween, 2014). Febrik exhibited at South London Gallery, Victoria and Albert Museum, Mosaic Rooms, and Architecture Biennal Rotterdam.

About Febrik
Febrik is a not-for-profit collaborative platform for participatory art and design research projects with practicing architects, designers and artists active in the Middle East and the UK. Febrik is a partnership set up by Joumana al Jabri, Reem Charif and Mohamad Hafeda in collaboration with local partners and creative networks. Please see: http://febrik.org/

Mohamad Tantouri-Dream space-Febrik

Our Story – A Tale of Two Cities is a graphic novel by Barbara Pokryszka an artist and hotel worker. Set in a hotel, the story is about low pay, workplace bullying and hope through solidarity and organisation. Working closely with Barbara Pokryszka, scenes from the story are dramatised by Implicated Theatre and performed and developed by hospitality workers from the Unite Hotel Workers Branch.

Implicated Theatre have been working with members of UNITE’s Hotel Workers branch since October 2014.

Please contact Projects Curator, Amal Khalaf on amalk@serpentinegalleries.org if you would like to attend this performance workshop.

Implicated Theatre has been working since October 2011 in a series of workshops and performances forming part of their residency with the Serpentine Galleries’ Edgware Road Project. Instigated by artists from no.w.here and working with theatre director Frances Rifkin, the experimental workshops explore the relationships between political speech and action, the self and the collective, voice and silence. Forming close relationships with migrant’s rights groups and unions, Implicated Theatre creates theatrical interventions inspired by real-life struggle, and highlighting issues of social justice.Dignity poster


Saturday 8 November, 3pm
Serpentine Gallery, Education Space

Designer and artist Bahbak Hashemi-Nezhad hosts a talk at the Serpentine Galleries Education Space. Hashemi-Nezhad has developed a number of projects focusing on the spatial politics of Church Street NW8, devising new methodologies of participation and collaborative research with local residents, school groups, sheltered housing scheme residents and interventions into public space. He has worked with the Serpentine Galleries’ Edgware Road Project since autumn 2010.

Bahbak Hashemi-Nezhad (b. 1979) is a designer based in London. His varied works cover the design of domestic and public spaces, recipes, games, interventions, product and image-production. He is interested in developing methodologies that actively engage the public within design processes and notions of defamiliarisation as a design tool. He graduated from the Royal College of Art in 2008 and regularly teaches at Central St. Martins and Kingston University in London.

Selected exhibitions and commissions include: Edgware Road Project, Serpentine Gallery; Mapusa Market, British Council, AHRC (both 2014); Open School East, Barbican (2013-14), Futurist Library, Liverpool Biennial, Survival Kit, LCCA, RIGA, Telling Not Reading, muf architecture/art (all 2013); The Grand Domestic Revolution GOES ON and Communal Knowledge, The Showroom (both 2012).