Archive of Gestures

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	<title>Archive of Gestures</title>
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	<pubDate>Tue, 09 May 2023 14:27:38 +0000</pubDate>
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		<pubDate>Sun, 07 Aug 2022 12:16:14 +0000</pubDate>

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Archive of Gestures


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Revolutions and protests, from the democratic uprisings of 1989/90* to the renewed waves of revolts, movements and occupations from 2011 to today have wrested fleeting, but precious futures from their dystopian present(s). New ways of being briefly manifested in and between assembled bodies – outside any prior blueprint or plan. When emancipatory projects are declared as failed or as already completed, bodies turn into archives of a political knowledge that dominant historicisations cannot yet or no longer capture in words.&#38;nbsp;


*
The emancipatory experience of the revolutions in East Germany and Eastern Europe in 1989/90 is this project’s starting point: The events’ emergent forms of radical collective self-empowerment enacted in streets and squares, assemblies and neighbourhoods, factories and schools were not only cut short by the installation of established (western) political forms, but have been erased from a history reduced to “the Fall of the Wall.”

	
	ARCHIVE OF GESTURES is a research platform and archive in progress about the embodiment of revolt and revolution.

The GESTURES assembled here initiate and document searches for visual, textual, somatic ways of approaching the stored up, emancipatory knowledge of past revolutions. 

How can we recover  – and release onto the present – a political impulse that has not yet been spent?&#38;nbsp;

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		<pubDate>Sun, 07 Aug 2022 12:16:21 +0000</pubDate>

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	News


	10 Apr 2026BECOMING IN/VISIBLE
@Kunst ist kein Ziel für sich
	&#60;img width="1600" height="800" width_o="1600" height_o="800" data-src="https://freight.cargo.site/t/original/i/c5220d3c748796575cf106ed5895473b6168311a25d0b8cdedfc89827b28c5a3/1600x800.jpg" data-mid="247179070" border="0"  src="https://freight.cargo.site/w/1000/i/c5220d3c748796575cf106ed5895473b6168311a25d0b8cdedfc89827b28c5a3/1600x800.jpg" /&#62;
	A new installation based on the performance and the webcollage 
BECOMING IN/VISIBLE

is on display at the exhibition 
Art is not an End in Itself&#38;nbsp;

at Kunstraum Bethanien in Berlin.&#38;nbsp;More info HERE.&#38;nbsp;


	2 Oct 2025SPEAKING
@Heute noch, Morgen schon.


	&#60;img width="2531" height="1425" width_o="2531" height_o="1425" data-src="https://freight.cargo.site/t/original/i/696bcbb90c924b0487d21f89de5f22504f171d1d6d92e451ac75ad9d5c37a073/HNMS.jpg" data-mid="245851791" border="0"  src="https://freight.cargo.site/w/1000/i/696bcbb90c924b0487d21f89de5f22504f171d1d6d92e451ac75ad9d5c37a073/HNMS.jpg" /&#62;
	The video installation 
Speaking: Statements for the Future 
is on display at the exhibition &#38;nbsp;
Heute noch, Morgen schon. Filmische Perspektiven auf Berlin um 1990 
at Stadtmuseum Berlin/Nikolaikirche
2 Oct 2025 - 6 April 2026.More infos HERE.


	14 June 2025

INTERRUPTING &#38;amp;&#38;nbsp;REPEATING@ Challenged Togetherness

	&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/d973d952efd0edbab7cde0d390b3ff85cddf6a898422646c051046d4ccf8cb09/Eroffnung-der-Ausstellung-Herausgefordert-e-Gemeinschaft_KMd_Foto-Katrin-Freund.jpg" data-mid="235992150" border="0"  src="https://freight.cargo.site/w/1000/i/d973d952efd0edbab7cde0d390b3ff85cddf6a898422646c051046d4ccf8cb09/Eroffnung-der-Ausstellung-Herausgefordert-e-Gemeinschaft_KMd_Foto-Katrin-Freund.jpg" /&#62;
	Two works of the Archive of Gestures:

Interrupting: A bit of a Complex Situation

Repeating: Versuche/ Framed

are on display as part of the exhibition CHALLENGED TOGETHERNESS14 June 2025 - 9 March 2026

at Kunstmuseum Magdeburg.More info HERE.&#38;nbsp;


	22 May 2025

&#38;nbsp;CIRCLING
@
Planetary Peasants

	&#60;img width="3094" height="1752" width_o="3094" height_o="1752" data-src="https://freight.cargo.site/t/original/i/53c547f882980f07bc9871416adbe670ed58a52e3d2e74622a7c7efcd5e395ba/PP_cover.jpg" data-mid="233098583" border="0"  src="https://freight.cargo.site/w/1000/i/53c547f882980f07bc9871416adbe670ed58a52e3d2e74622a7c7efcd5e395ba/PP_cover.jpg" /&#62;
	Archive of Gestures: CirclingSite-Specific Installation at

Planetary PeasantsAgriculture, Art, Revolution,&#38;nbsp;
Kunstmuseum Moritzburg, Halle/S.

23 May 2025 — 14 Sept 2025

	20 Nov 2024

Interview about the ARCHIVE OF GESTURES with Burak Üzümkesici&#38;nbsp;
published in German&#38;nbsp;
	&#60;img width="772" height="1024" width_o="772" height_o="1024" data-src="https://freight.cargo.site/t/original/i/fd0b4deee54c8344ac1de79d3b93d4397c181e45539fb2c092a0e464d1b2019e/Selbsterzahlungen-772x1024.jpg" data-mid="222739120" border="0"  src="https://freight.cargo.site/w/772/i/fd0b4deee54c8344ac1de79d3b93d4397c181e45539fb2c092a0e464d1b2019e/Selbsterzahlungen-772x1024.jpg" /&#62;
	“Revolutionäre Gesten. Sprache finden durch Protest und künstlerische Praxis” A conversation between Elske Rosenfeld und Burak Üzümkesicihas been published in 
 “Selbsterzählungen und Umbruchspuren im Œuvre von Künstler:innen aus der DDR”
in German.&#38;nbsp;︎︎︎

You can find the Turkish, English and German version of the text HERE.&#38;nbsp;


	18 Nov 2024

REPEATING &#38;amp; INTERRUPTING:&#38;nbsp;Workshop, 
Talk &#38;amp; Screening


	&#60;img width="800" height="568" width_o="800" height_o="568" data-src="https://freight.cargo.site/t/original/i/1883a8552d87a893544d478a4513925144a85a4cec6c03373225ca38ad52bd2b/Versuche_Framed.jpeg" data-mid="221953822" border="0"  src="https://freight.cargo.site/w/800/i/1883a8552d87a893544d478a4513925144a85a4cec6c03373225ca38ad52bd2b/Versuche_Framed.jpeg" /&#62;


	We are launching the gestures REPEATING and INTERRUPTING 
with two events: 

Repeating: Filmic Activism in Times of War and Revolution. 
Workshop @Archive of the GDR-Opposition 
29 Nov 2024, 
4-7 pm 

&#38;amp;
 Interrupting: Troubling Archives 
Talk &#38;amp; Screening @ Project Space Flutgraben e.V.
 15 Dec 2024,&#38;nbsp;
5 pm

More info &#38;nbsp;HERE

	10 Sept 2024

“SPEAKING: Statements for the Future” @ festival wohn-komplex, Halle-Neustadt
	&#60;img width="3000" height="4247" width_o="3000" height_o="4247" data-src="https://freight.cargo.site/t/original/i/92795f5d443726eac68ceee9814601e456c24d7b61a5987f409e513869a617e1/Plakat_wohn_komplex_klein.jpeg" data-mid="217825006" border="0"  src="https://freight.cargo.site/w/1000/i/92795f5d443726eac68ceee9814601e456c24d7b61a5987f409e513869a617e1/Plakat_wohn_komplex_klein.jpeg" /&#62;
	The video installation 
Speaking: Statements for the Future
 is on display at 
wohn-komplex festival in Halle-Neustadt. 

12 - 15 September 2024

We are also launching the booklet “Statements for the Future. Halle-Neustadt Edition.” For the booklet the English script of the performance/ video has been translated to the five most widely spoken languages in Halle-Neustadt in 2024: German, Arabic, Ukrainan, Farsi, Russian and French.

wohn_komplex︎︎︎ is created and organised by Sabine Strobler, Hendrikje Alpermann and Karoline Stegemann on the occasion of the 60th anniversary of the founding of Halle-Neustadt.

	
28 Aug 2024

POSTOST ZINE CLUB Singing matter, Legeparty, zine launches &#38;amp; audiovisual leaks
	&#60;img width="600" height="800" width_o="600" height_o="800" data-src="https://freight.cargo.site/t/original/i/d6aa2a0b6dad482d85b308df95a02cb7fe2902e87ae7bfb7780736fa83d959d1/hader-halal-600x800.jpeg" data-mid="217077615" border="0"  src="https://freight.cargo.site/w/600/i/d6aa2a0b6dad482d85b308df95a02cb7fe2902e87ae7bfb7780736fa83d959d1/hader-halal-600x800.jpeg" /&#62;
	We are presenting the Archive of Gestures and launching the collaborative collage &#38;nbsp;SPEAKING at&#38;nbsp;

POSTOST ZINE CLUB
Singing matter, Legeparty, zine launches &#38;amp; audiovisual leaks

A program as part of 
Clubs of the Future
28 Aug 2024 5:30 pm to 10:30 pm
Vierte Wel,&#38;nbsp;Adalbertstraße 96, 10999 BerlinMore info HERE

	12 August 2024

“SPEAKING: Statements for the Future” @ Festival Begehungen in Chemnitz

	&#60;img width="3126" height="1115" width_o="3126" height_o="1115" data-src="https://freight.cargo.site/t/original/i/24e712a1451b44d4b23bfd8a354dfb08bf7d0429b3ce6bd947edb3f9139b0a6c/begehungen.jpg" data-mid="216243330" border="0"  src="https://freight.cargo.site/w/1000/i/24e712a1451b44d4b23bfd8a354dfb08bf7d0429b3ce6bd947edb3f9139b0a6c/begehungen.jpg" /&#62;
	The video installation 
Speaking: Statements for the Future
is part of the Festival Begehungen in Chemnitz,&#38;nbsp;
former CSM Schule,&#38;nbsp;

15.08. Opening at 18:3016 – 18 August: 10 am to 8 pm19 – 23 August: 12 to 6 pm

More info HERE

	3 July 2024

Performance Becoming In/visible @ ACUD Studio
	&#60;img width="810" height="547" width_o="810" height_o="547" data-src="https://freight.cargo.site/t/original/i/1aebb05b76d0d5aa23190435f9a2eb5c0b348ccb81f7f01ade1c9ae2187fdea2/elske-olia-press-image-2b-1920x.jpg" data-mid="213510836" border="0"  src="https://freight.cargo.site/w/810/i/1aebb05b76d0d5aa23190435f9a2eb5c0b348ccb81f7f01ade1c9ae2187fdea2/elske-olia-press-image-2b-1920x.jpg" /&#62;
	Olia Sosnovskaya &#38;amp; Elske Rosenfeld&#38;nbsp;
perform the gesture&#38;nbsp;
BECOMING IN/VISIBLE:

ACUD StudioVeteranenstraße 2110119 Berlin MitteU8 Rosenthaler Platz 

3rd July 2024
20.00-21.00, doors open 19.30, 
free admission(the performance will be in English)

	5 June 2024

Archive of Gestures @ Matter of Art Biennial
	&#60;img width="200" height="200" width_o="200" height_o="200" data-src="https://freight.cargo.site/t/original/i/38b1af2e282b587e942d8f06d8af7a0941d9359a2a0c94655291f4931cc537be/matterofart.jpg" data-mid="212358872" border="0" data-scale="100" src="https://freight.cargo.site/w/200/i/38b1af2e282b587e942d8f06d8af7a0941d9359a2a0c94655291f4931cc537be/matterofart.jpg" /&#62;
	Archive of Gestures is participating in the Matter of Art Biennial in Prague which runs from June 14, 2024, to September 29, 2024 with the installation:

 SPEAKING: Statements for the Future

and the performance 
“BECOMING IN/VISIBLE”(with Olia Sosnovskaya) 
on the 14th June, at 8 pm as part of the opening programme.More info HERE.&#38;nbsp;

	29 Feb 2024
Circling (Another Round) @ Haus der Kulturen der Welt: “Echos der Bruderländer”, Berlin
	&#60;img width="2083" height="1249" width_o="2083" height_o="1249" data-src="https://freight.cargo.site/t/original/i/0dbc5426f2d642dde92ffcec2d4c55db640a53f4cef01d59a49df4676eaa250a/echos_hkw.jpg" data-mid="205782904" border="0"  src="https://freight.cargo.site/w/1000/i/0dbc5426f2d642dde92ffcec2d4c55db640a53f4cef01d59a49df4676eaa250a/echos_hkw.jpg" /&#62;
	A new edit of the video installation CIRCLING (Another Round) will be shown as part of the HKW’s research project and exhibition.︎︎︎
&#38;nbsp;1 March - 20 May 2024

	5 Jan 2024

Exhibition and Workshop “Becoming In/visible”@VBKÖ, Vienna
	&#60;img width="960" height="960" width_o="960" height_o="960" data-src="https://freight.cargo.site/t/original/i/0f5d6910cbb72016329237c8ce3bdbf47010c91cca74550c7cdd929cd3e426a4/VBKO_Poster_INSTA_1.jpeg" data-mid="200857537" border="0"  src="https://freight.cargo.site/w/960/i/0f5d6910cbb72016329237c8ce3bdbf47010c91cca74550c7cdd929cd3e426a4/VBKO_Poster_INSTA_1.jpeg" /&#62;
	Exhibition︎︎︎
January 12th – February 11, 2024
Opening: January 11th, 6 p.m.VBKÖ, Maysedergasse 2/28, 1020 Vienna

Friday, February 9th, 3–6 p.m. Archive of Gestures: Becoming In/visibleWorkshop with Elske Rosenfeld &#38;amp; Olia Sosnovskaya
 

	9 Dec 2023

Workshop “Speaking”&#38;nbsp;
@D’EST Cycle #2: Post-Socialism as Method
 
	More info on the Events Programme&#38;nbsp;D’EST Cycle #2: Post-Socialism as Method: Hader Halal [With Regard to Presence] SessionsHERE︎︎︎
	To attend the workshop please register at elskerosenfeld@gmail.com until 5 December

	22 Sept 2023

ARCHIVE OF GESTURES @ (Selbst-) Erzählungen und Umbruchspuren im Œuvre&#38;nbsp;von Künstler*-innen der DDR&#38;nbsp;
	ARCHIVE OF GESTURES will be presented at the workshop “(Selbst-)Erzählungen und Umbruchspuren im Œuvre&#38;nbsp;von Künstler*innen der DDR” at the University of Potsdam, 22 Sept 2023, 10 am - 8 pm.&#38;nbsp;


	16 Sept 2023
STANDING STILL 
on view @
 “Ways of Unseeing”, Lunds konsthall&#38;nbsp;
	&#60;img width="800" height="600" width_o="800" height_o="600" data-src="https://freight.cargo.site/t/original/i/d1d4e36c39e56485c8e295c399347f8caf2bd04ac3632802760011b465e67a33/IMG_1431.jpeg" data-mid="191379547" border="0"  src="https://freight.cargo.site/w/800/i/d1d4e36c39e56485c8e295c399347f8caf2bd04ac3632802760011b465e67a33/IMG_1431.jpeg" /&#62;
	As site-specific iteration of the video and collage STANDING STILL are part of the show “Ways of Unseeing” at Lunds konsthall, Sweden.
 
Curated by Hans Carlsson, with works by&#38;nbsp;Harun Farocki, Cecilia Germain, Maria Jacobson, Chloé Galibert-Laîné &#38;amp; Kevin B. Lee, Trinh T. Minh-ha, Patricia Morosan, Magnhild Øen Nordahl, Elske Rosenfeld, Birender Kumar Yadav.

&#38;nbsp;16 Sept 2023 – 21 Jan 2024

	17 June 2023

CIRCLING published in print in “Outside the Box”
	&#60;img width="1930" height="1460" width_o="1930" height_o="1460" data-src="https://freight.cargo.site/t/original/i/839639cf14cf1f86bccfaae96567ad0bfa53126940034be949b9173bc36a3be5/OutsidetheBox.jpg" data-mid="185318179" border="0"  src="https://freight.cargo.site/w/1000/i/839639cf14cf1f86bccfaae96567ad0bfa53126940034be949b9173bc36a3be5/OutsidetheBox.jpg" /&#62;
	A print version of the chapter Circling has just come out as part of the magazine Outside the Box # 8: Kämpfe.

Outside the Box. Zeitschrift für feministische Gesellschaftskritik is a Leipzig based magazine dedicated to social critique with a feminist focus. &#38;nbsp;&#38;nbsp;
 
A pdf of the contribution is available for download HERE.&#38;nbsp;

	16 April 2023

Interview about the&#38;nbsp;ARCHIVE OF GESTURES with Burak Üzümkesici
	
A talk about Revolutionary Gestures between East Germany and Gezi, is out now in Turkish on&#38;nbsp;

https://www.5harfliler.com


16 Aug 2022Flyer for the ARCHIVE OF GESTURES @ 12th Berlin Biennial available for download


	&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/0b2c702cbf799edcd3c80292ea3c9ea408b1acccb3f8ac5a84f560d200545e6c/stander_interrupt.jpeg" data-mid="153309811" border="0" data-scale="55" src="https://freight.cargo.site/w/1000/i/0b2c702cbf799edcd3c80292ea3c9ea408b1acccb3f8ac5a84f560d200545e6c/stander_interrupt.jpeg" /&#62;


You can download the flyer HERE.


	11 June 2022
Launching 
ARCHIVE OF GESTURES 
@ 12th Berlin Biennial


	&#60;img width="1024" height="768" width_o="1024" height_o="768" data-src="https://freight.cargo.site/t/original/i/e84aa1782336c3c083c9e30797d26ba440147f3ee14d5ae7a7ba771efb12b6c2/147F0DF9-A284-4AF0-B30D-129E76133730_1_102_o-1024x768.jpg" data-mid="153310391" border="0"  src="https://freight.cargo.site/w/1000/i/e84aa1782336c3c083c9e30797d26ba440147f3ee14d5ae7a7ba771efb12b6c2/147F0DF9-A284-4AF0-B30D-129E76133730_1_102_o-1024x768.jpg" /&#62;


	Very happy to announce the launch of the 
ARCHIVE OF GESTURES
 – a research platform and archive in progress&#38;nbsp;
and new iteration of Elske Rosenfeld’s &#38;nbsp;long-term research into the embodiment of revolt and revolution from 1989/90 to the present. 

Four of its works/gestures, including three new works, will be on show at the 1
2th Berlin Biennale, 
which opens today and runs till September 18th.


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		<title>Info</title>
				
		<link>https://archiveofgestures.net/Info-1</link>

		<pubDate>Tue, 28 Jun 2022 14:16:04 +0000</pubDate>

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Archive of Gestures is a project by Elske Rosenfeld︎︎︎&#38;nbsp;with District* School without Center︎︎︎. 


It is kindly supported by Beauftragter der Bundesregierung für Kultur und Medien, NEUSTART KULTUR, BBK Bundesverband, Bundesstiftung zur Aufarbeitung der SED-Diktatur,&#38;nbsp;
Berliner Beauftragter zur Aufarbeitung der SED-Diktatur (BAB).

Contact:&#38;nbsp;
Elske Rosenfeld
mail@elskerosenfeld.net

 Website Layout: 
Robert Finkei
 
Imprint: 
Responsible for Content in Accordance with § 18 Abs. 2 MStV:
Elske Rosenfeld
℅ District*Schule ohne Zentrum e. V., 
Pannierstr. 26, 12047 Berlin

	If you have suggestions for additional materials or would like to propose a collaboration on a new gesture, we would be happy to hear from you!&#38;nbsp;To receive news about this and other projects by Elske Rosenfeld you can sign up for our newsletter by sending us a&#38;nbsp;message saying “Please subscribe me” HERE︎︎︎.

To receive regular updates on the project and other activities of District*School without Center, you can sign up for the District Newsletter HERE︎︎︎. (Please scroll to the bottom of the linked page for the sign-up form.)


&#38;nbsp;&#38;nbsp;&#60;img width="514" height="514" width_o="514" height_o="514" data-src="https://freight.cargo.site/t/original/i/2629a79a0ddf2d8e9a13b5592cf4eabcc8b895888e1c2f7df43c37f5246fb100/LOGO_BBK_grey_plain.jpg" data-mid="146703564" border="0" data-scale="4" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/514/i/2629a79a0ddf2d8e9a13b5592cf4eabcc8b895888e1c2f7df43c37f5246fb100/LOGO_BBK_grey_plain.jpg" /&#62;&#38;nbsp; &#60;img width="511" height="139" width_o="511" height_o="139" data-src="https://freight.cargo.site/t/original/i/67b40b5257277602354063c431fdd5d24e1457070867ea30267c1e6bf39dd545/BKM_DTP_Grau_de-01.png" data-mid="146703685" border="0" data-scale="4" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/511/i/67b40b5257277602354063c431fdd5d24e1457070867ea30267c1e6bf39dd545/BKM_DTP_Grau_de-01.png" /&#62;&#60;img width="331" height="324" width_o="331" height_o="324" data-src="https://freight.cargo.site/t/original/i/edc8e9fa5cd396b5f6f5e73bfff902addc111ba4fb3cdf72f932356da7ce30b6/BKM_Neustart_Kultur_Wortmarke_neg_RGB_RZ_BW_5-Kopie-5.png" data-mid="146703857" border="0" data-scale="4" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/331/i/edc8e9fa5cd396b5f6f5e73bfff902addc111ba4fb3cdf72f932356da7ce30b6/BKM_Neustart_Kultur_Wortmarke_neg_RGB_RZ_BW_5-Kopie-5.png" /&#62;&#38;nbsp; &#38;nbsp;

&#60;img width="710" height="124" width_o="710" height_o="124" data-src="https://freight.cargo.site/t/original/i/ee582e52ee4d0bc282aa4b8a4d8fca216bcaa090ac790810d08951532f6ab21f/BstA_Logo_4c_cmyc_BW_Zeichenflache-1.png" data-mid="146704171" border="0" data-scale="3" data-no-zoom data-icon-mode src="https://freight.cargo.site/w/710/i/ee582e52ee4d0bc282aa4b8a4d8fca216bcaa090ac790810d08951532f6ab21f/BstA_Logo_4c_cmyc_BW_Zeichenflache-1.png" /&#62; &#38;nbsp;&#38;nbsp;&#60;img width="5102" height="2058" width_o="5102" height_o="2058" data-src="https://freight.cargo.site/t/original/i/da948cf98dc3f34f9e4f098c848471ed577ef80b31c7fc227c6e6def84ba9833/BAB_MZ_std_Y_RGB-_bw.jpeg" data-mid="202437001" border="0" data-scale="23" src="https://freight.cargo.site/w/1000/i/da948cf98dc3f34f9e4f098c848471ed577ef80b31c7fc227c6e6def84ba9833/BAB_MZ_std_Y_RGB-_bw.jpeg" /&#62;&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;
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</description>
		
	</item>
		
		
	<item>
		<title>Circling Top</title>
				
		<link>https://archiveofgestures.net/Circling-Top</link>

		<pubDate>Mon, 19 Sep 2022 11:31:49 +0000</pubDate>

		<dc:creator>Archive of Gestures</dc:creator>

		<guid isPermaLink="true">https://archiveofgestures.net/Circling-Top</guid>

		<description>

	&#60;img width="1587" height="1586" width_o="1587" height_o="1586" data-src="https://freight.cargo.site/t/original/i/599f6bb2bb10f18526c20f006769c3335d398265bbb4caab8c30cc2e4777f288/Archive-of-Gestures---Icons---3-01.png" data-mid="153314134" border="0" data-scale="30" data-no-zoom src="https://freight.cargo.site/w/1000/i/599f6bb2bb10f18526c20f006769c3335d398265bbb4caab8c30cc2e4777f288/Archive-of-Gestures---Icons---3-01.png" /&#62;


Elske Rosenfeld, Another Round, single-channel video, loop,
2012/2022

					
Material: Video Footage recorded spontaneously while driving around Tahrir Square, Cairo, on the evening of 20 February 2012; various sounds Cairo, 2011 to
2012 (found online, e.g. in the 858 Archive by Mosireen Collective); video snippet,
Tahrir Square, 2021


	To circle is to form a circle, to surround or move along a circle
around something. To revolve is, similarly, to orbit a central
point, or to turn on an axis, but also to recur at periodical
intervals. Circling combines continuous movement with
remaining in place. Geometrically, a circle can open into a
helix, a spring, when imagined in 3D. In physics, a revolution
refers to the periodic movement of an object around a focal
point, which is enabled by the balancing of an inward acceleration and a tangential velocity. In its wider usage it refers to
a sudden radical change in a system of ideas or technologies,
a process of potentially violent social and political transition,
the overthrow of a regime. In Marxist theory, a revolution is
the violent and historically necessary changeover from one system to another.


</description>
		
	</item>
		
		
	<item>
		<title>Circling Bottom</title>
				
		<link>https://archiveofgestures.net/Circling-Bottom</link>

		<pubDate>Mon, 19 Sep 2022 11:31:59 +0000</pubDate>

		<dc:creator>Archive of Gestures</dc:creator>

		<guid isPermaLink="true">https://archiveofgestures.net/Circling-Bottom</guid>

		<description>
	
	
nothing has changed...


	&#60;img width="600" height="442" width_o="600" height_o="442" data-src="https://freight.cargo.site/t/original/i/1f50952f1b0c114e5606ac82c68e58fa941b92912fc7e3329c448d4755ea584f/ArchiveofGestures_moebius.jpg" data-mid="155691512" border="0" alt="Image of a moebius strip" data-caption="Image of a moebius strip" src="https://freight.cargo.site/w/600/i/1f50952f1b0c114e5606ac82c68e58fa941b92912fc7e3329c448d4755ea584f/ArchiveofGestures_moebius.jpg" /&#62;

Circling Geometries #1: the moebius strip
	Drawing a line on a Moebius band, one full circle of the pen along the paper returns you to the same place, but on the other side, separated from your starting point by the thickness of the band.

	...nothing will ever be the same again. 


&#60;img width="400" height="258" width_o="400" height_o="258" data-src="https://freight.cargo.site/t/original/i/cb34e8d9623207253a314baccb0b158bbe711a1d0482808b1e77b8d524151cac/ArchiveofGestures_caminhando.jpg" data-mid="155691604" border="0" alt="Lygia Clarks art work caminhandoes" data-caption="Lygia Clarks art work caminhandoes" src="https://freight.cargo.site/w/400/i/cb34e8d9623207253a314baccb0b158bbe711a1d0482808b1e77b8d524151cac/ArchiveofGestures_caminhando.jpg" /&#62;

Lygia Clark, Caminhandos (1963)
“Each fragment like a totality in time, a totality of being, making itself in front of my eyes, in the immanence of the moment. […] the moment, the decisive thing.”︎︎︎


&#60;img width="779" height="532" width_o="779" height_o="532" data-src="https://freight.cargo.site/t/original/i/4433d9bb518ccd4ac306e929ef1ce0cf7a5328ea3aec89772a04087da8ea4d3e/ArchiveofGestures_Leipzig-_Montagsdemonstration.jpg" data-mid="155810434" border="0"  src="https://freight.cargo.site/w/779/i/4433d9bb518ccd4ac306e929ef1ce0cf7a5328ea3aec89772a04087da8ea4d3e/ArchiveofGestures_Leipzig-_Montagsdemonstration.jpg" /&#62;

Demonstration on the Leipzig Ring Road, October 1989: Crowds in “Tiananmen Square, Washington [1970], Leipzig, or Berlin” gather in “big circular groups.︎︎︎

	
&#60;img width="977" height="1068" width_o="977" height_o="1068" data-src="https://freight.cargo.site/t/original/i/d4ae60d04ac650ab790f63c9cb1a1f85b760f1798185cf5ede70ad6f0e7abc3d/ArchiveofGestures_Iran_valiasrcircle.png" data-mid="155810533" border="0"  src="https://freight.cargo.site/w/977/i/d4ae60d04ac650ab790f63c9cb1a1f85b760f1798185cf5ede70ad6f0e7abc3d/ArchiveofGestures_Iran_valiasrcircle.png" /&#62;
Woman facing a water cannon in Vali Asr Circle, Tehran, 2022


	circular movements and spaces,&#38;nbsp; circular and cyclical temporal forms
	

The filmTrop tôt, trop tard, produced by French filmmakers Danièle Huillet and Jean-Marie Straub in 1982, starts with a camera, mounted on a car driving repeatedly around the Place de la Bastille in Paris. The camera points outwards catching cars passing in other lanes, the buildings encircling the square, and the surrounding cityscape and a wide sky dotted with clouds.&#38;nbsp;

In total, the camera circles the square 14 times.
	

geometries of change
	“Is it accidental that official displays consist of neat rectangles, countable cohorts, marching past and under the fixed gaze of the reviewing stand, while unofficial mass gatherings are vortexed, whirling, full of shifting ups and downs, multi-focussed events generating tension between large-scale actions and many local dramas?”︎︎︎


&#60;img width="646" height="444" width_o="646" height_o="444" data-src="https://freight.cargo.site/t/original/i/eda546e6a82120b823bd0dd601c0c97c0961bd19e01b9e51ea5f0719dfe577f3/ArchiveofGestures_Round-Table_Weizman.jpg" data-mid="155810594" border="0"  src="https://freight.cargo.site/w/646/i/eda546e6a82120b823bd0dd601c0c97c0961bd19e01b9e51ea5f0719dfe577f3/ArchiveofGestures_Round-Table_Weizman.jpg" /&#62;


	British-Israeli architect and researcher Eyal Weizman’s book “The Roundabout Revolutions” is dedicated to the fact that many recent revolutions have taken place on roundabouts. The last chapter is dedicated to the Round Tables of Poland, and of the GDR.︎︎︎

&#60;img width="525" height="321" width_o="525" height_o="321" data-src="https://freight.cargo.site/t/original/i/988fa4d4c0fe59f81793839164196ad86c15d99ce9354643118472642967159a/ArchiveofGestures_Roundabout_Revolutions.jpeg" data-mid="155810581" border="0"  src="https://freight.cargo.site/w/525/i/988fa4d4c0fe59f81793839164196ad86c15d99ce9354643118472642967159a/ArchiveofGestures_Roundabout_Revolutions.jpeg" /&#62;


	Geometrien der Versammlung
	(Excerpt from a speech)
“The Round Table has taught us this unforgettable circular perspective by forcing consensus, and this is always a healing force, defined by a discourse independent of ideology that is focused on this centre and converges there time and again, as well as by the burden of proof placed on those who claim the right and the ability to make decisions.”︎︎︎
	&#60;img width="1516" height="1504" width_o="1516" height_o="1504" data-src="https://freight.cargo.site/t/original/i/c9bb4e524ae9b3445eb96393f954caf5d35f6f8a93e87f7e9a97759c0a44dc17/ArchiveofGestures_RunderTisch_Goll.png" data-mid="155812661" border="0"  src="https://freight.cargo.site/w/1000/i/c9bb4e524ae9b3445eb96393f954caf5d35f6f8a93e87f7e9a97759c0a44dc17/ArchiveofGestures_RunderTisch_Goll.png" /&#62;
In his text "Der wundertätige Tisch", media scholar Philipp Goll describes the Polish Round Table not so much as a tool of political action, but as its medium, or even, a political actor in its own right: “The definition of the Round Table as a tool that can be implemented at will to create an even playing field between different parties relies on an instrumental understanding in which the table is used a means to an end. Sociologist Bruno Latour, however, positis that “techniques [are] not means but mediators.︎︎︎


	The&#38;nbsp;Central Round Table 
of the GDR 
was not round.
︎︎︎


	&#60;img width="805" height="317" width_o="805" height_o="317" data-src="https://freight.cargo.site/t/original/i/99c85c084f70451efff12a7d9c734f3d0d21782df1bc06ca6717c8349a3216fe/ArchiveofGestures_RunderTisch_DDR.jpg" data-mid="155812996" border="0"  src="https://freight.cargo.site/w/805/i/99c85c084f70451efff12a7d9c734f3d0d21782df1bc06ca6717c8349a3216fe/ArchiveofGestures_RunderTisch_DDR.jpg" /&#62;
An actual round table was used during a meeting of the two German governments on February 13th 1990, where the requests of the delegation of the Central Round Table of the GDR were flatly turned down. 


&#60;img width="259" height="194" width_o="259" height_o="194" data-src="https://freight.cargo.site/t/original/i/8d1eac3eb6694545d9f044086ec8361815713a69d7a78ebc9d4cb95956e53f61/ArchiveofGestures_Kabeltrommel_KOW.jpg" data-mid="155813177" border="0"  src="https://freight.cargo.site/w/259/i/8d1eac3eb6694545d9f044086ec8361815713a69d7a78ebc9d4cb95956e53f61/ArchiveofGestures_Kabeltrommel_KOW.jpg" /&#62;


Members of the left GDR opposition gathered on September 20, 1990 at another Round Table outside of the Palast der Republik (parliament of the GDR) to protest the signing of the&#38;nbsp; German Reunification Treaty. The table was a cable reel from the&#38;nbsp; Kabelwerk Oberspree cable plant, whose staff faced the threat of mass layoffs since the plant had been taken over by the GDR’s Treuhand (trust agency established to re/privatise GDR enterprises post-unification).


	In a circle, the starting point of a circumambulation and and its end point appear the same. A two-dimensional circling seemingly returns its circumambulators to the exact same place. The circle’s circumference C describes the distance covered in one such circling. Point B, diametrically opposed to Point A, is at the maximal distance from this starting point A. Completing the circle from B all the way around and back to A, can be perceived as a return.
	&#60;img width="1398" height="1288" width_o="1398" height_o="1288" data-src="https://freight.cargo.site/t/original/i/86123da947abf88c53842e512cd4d1d4f22fe69a70f8c9024911258faea7b52d/ArchiveofGestures_circle_diagram.png" data-mid="155813548" border="0" data-scale="80" src="https://freight.cargo.site/w/1000/i/86123da947abf88c53842e512cd4d1d4f22fe69a70f8c9024911258faea7b52d/ArchiveofGestures_circle_diagram.png" /&#62;Circling Geometries #2: diameter vs. circumference


	&#60;img width="768" height="576" width_o="768" height_o="576" data-src="https://freight.cargo.site/t/original/i/465fb99626afe610c7805261d1f8a82a474a19434e6abb78d4ca7d729b0521e8/ArchiveofGestures_STRAUB_HUILLET_6.png" data-mid="155813871" border="0"  src="https://freight.cargo.site/w/768/i/465fb99626afe610c7805261d1f8a82a474a19434e6abb78d4ca7d729b0521e8/ArchiveofGestures_STRAUB_HUILLET_6.png" /&#62;Film Still, Trop tôt, trop tard

	
&#60;img width="768" height="576" width_o="768" height_o="576" data-src="https://freight.cargo.site/t/original/i/052a0d73b94e093aceae834e77fe31716e88dcd1c2df0afd4cc8ea1bca326286/ArchiveofGestures150325_STRAUB_HUILLET1.png" data-mid="155813993" border="0"  src="https://freight.cargo.site/w/768/i/052a0d73b94e093aceae834e77fe31716e88dcd1c2df0afd4cc8ea1bca326286/ArchiveofGestures150325_STRAUB_HUILLET1.png" /&#62;Film Still, Trop tôt, trop tard

In the second part of the film Trop tôt, trop tard, the camera is stationary, but turns around itself to scan the full circle of the landscape surrounding it towards the horizon. These shots were filmed in Cairo and the Egyptian countryside. From the circling camera, the narration shoots off tangents into different chronologies of the workers’ and peasants’ revolts that happened at the sites of the filming or spread from there through the width and breadth of the country at different points through its (colonial) history. &#38;nbsp;


Uprising ︎︎︎

&#38;nbsp; ︎︎︎Defeat &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Defeat︎︎︎

 ︎︎︎Uprising


	&#60;img width="1232" height="738" width_o="1232" height_o="738" data-src="https://freight.cargo.site/t/original/i/4faec0dba397d45d8d98ede9610ad33a11b8c60f0accb2e44532e8c654011919/ArchiveofGestures_bischofferode.jpg" data-mid="155814119" border="0"  src="https://freight.cargo.site/w/1000/i/4faec0dba397d45d8d98ede9610ad33a11b8c60f0accb2e44532e8c654011919/ArchiveofGestures_bischofferode.jpg" /&#62;
Protests at the Bischofferode salt mines, Thuringia, 1993
︎︎︎


	Infinity is a circle, folded down the middle into a horizontal 8
	&#60;img width="1643" height="788" width_o="1643" height_o="788" data-src="https://freight.cargo.site/t/original/i/b53c6d4d847abba7784411d39a89a3ecb5432a026a2785d89b95852fd2ddd0c1/ArchiveofGestures_infinitysign.jpg" data-mid="155814154" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/b53c6d4d847abba7784411d39a89a3ecb5432a026a2785d89b95852fd2ddd0c1/ArchiveofGestures_infinitysign.jpg" /&#62;
Circling Geometries #3: the infinity sign

	
	&#60;img width="259" height="194" width_o="259" height_o="194" data-src="https://freight.cargo.site/t/original/i/665628742f3fda348652ac213f6d1ef78f7e56a2473449a252b3a6db2c8bdfd3/ArchiveofGestures_infinity_2.jpg" data-mid="155814191" border="0"  src="https://freight.cargo.site/w/259/i/665628742f3fda348652ac213f6d1ef78f7e56a2473449a252b3a6db2c8bdfd3/ArchiveofGestures_infinity_2.jpg" /&#62;
	Anthropologist Victor Turner and performance theorist Richard Schechner developed a circular – 8-shaped – model of social change: social action and experience during revolution or protest turn into an implicit social process that is then narrativized into drama, from where it provides the implicit rhetorical structure that allows the next event of social action to take its concrete shape.


Language ︎︎︎

&#38;nbsp; ︎︎︎Experience &#38;nbsp;&#38;nbsp; &#38;nbsp; Experience︎︎︎

 ︎︎︎Language 


	&#60;img width="550" height="550" width_o="550" height_o="550" data-src="https://freight.cargo.site/t/original/i/bc1cf41e91c83e3fe9ff987f9036db70d5762a3ab0413434501099303e1dcf89/on-speeches-05.jpg" data-mid="227283175" border="0"  src="https://freight.cargo.site/w/550/i/bc1cf41e91c83e3fe9ff987f9036db70d5762a3ab0413434501099303e1dcf89/on-speeches-05.jpg" /&#62;
In On Speeches, dancer and choreographer Jasmin İhraç performs gestures of spinning and circling over a soundtrack consisting of political speeches by Angela Davis, Cornell West, and Slavoj Zizek.

	
	&#60;img width="360" height="288" width_o="360" height_o="288" data-src="https://freight.cargo.site/t/original/i/eb045236132915f4ac39c6991b18190e21ebdbb14f57363ad3677f343e4e7382/ArchiveofGestures_iran_spinning.gif" data-mid="155814339" border="0"  src="https://freight.cargo.site/w/360/i/eb045236132915f4ac39c6991b18190e21ebdbb14f57363ad3677f343e4e7382/ArchiveofGestures_iran_spinning.gif" /&#62;
In September 2022, a protestor in Iran spins around herself during demonstrations following the death in police custody of Mahsa Amini.
	
	
	&#60;img width="1021" height="1024" width_o="1021" height_o="1024" data-src="https://freight.cargo.site/t/original/i/41116bc0520065005d0a9710ba5307d7f7bba492b0f0f15ef308aa6340c53e7f/ArchiveofGestures_spiral.jpg" data-mid="155814432" border="0"  src="https://freight.cargo.site/w/1000/i/41116bc0520065005d0a9710ba5307d7f7bba492b0f0f15ef308aa6340c53e7f/ArchiveofGestures_spiral.jpg" /&#62;
Circling Geometries # 4: the spiral
	

twirling, spiralling, spinning around


	circling is learning 
by losing 
control


	Simone Forti, the dancer and choreographer, developed some dance pieces and exercises that explore how a body produces and integrates knowledge physically. They are based on forms of circling that enable an opening of the self: like the whirling dervishes, Forti loses authorship of her movements as she circles, she becomes intoxicated, or rather she intoxicates herself first (she smokes pot and then moves), and observes, without controlling them, the forces working on her, the momentum that pulls the mass of her body inwards, and her attention along with it.

	
&#60;img width="480" height="371" width_o="480" height_o="371" data-src="https://freight.cargo.site/t/original/i/fada785094514b89ce001b731c6cf6c912bd2cb5a5e7d97ac99df0a36ca69050/ArchiveofGestures_simone-forti.png" data-mid="155814528" border="0"  src="https://freight.cargo.site/w/480/i/fada785094514b89ce001b731c6cf6c912bd2cb5a5e7d97ac99df0a36ca69050/ArchiveofGestures_simone-forti.png" /&#62;Simone Forti,&#38;nbsp;Zero, 1975

	
In ritual and religious practices, like the twirling or the circular dances of the Sufi Dervishes, movements of spinning, twirling, circling have physical effects, and several studies have analysed the neurophysiology of the dissociated states of the mind brought about by such rhythmical turnings.︎︎︎


&#60;img width="600" height="351" width_o="600" height_o="351" data-src="https://freight.cargo.site/t/original/i/9ca153bfdb064ffa6c95119b2136fadf3020913470303dd02d0d76f186a21f1a/ArchiveofGestures_PuertadelSol.jpg" data-mid="155814665" border="0"  src="https://freight.cargo.site/w/600/i/9ca153bfdb064ffa6c95119b2136fadf3020913470303dd02d0d76f186a21f1a/ArchiveofGestures_PuertadelSol.jpg" /&#62;


	вре́мя: circular time
 
Etymologically the Russian word vremya (“time”) comes from the Ancient Slavonic v˴ rtmen (“turning”) and the Ancient Indian root vart – “turning”.


	“Time accelerates. The senses are shaken. Hours pass rapidly between one gathering and the next, but then time slows down. The nights are loooong. Time contracts and expands, moved by a sea of people (principally but not only young people). It feels like we’ve been here for years, and it hasn’t been more than three days.”
“Seven key words on the Madrid-Puerta del Sol experience,” 15M, Guillermo Kaejane, 2011


&#60;img width="960" height="666" width_o="960" height_o="666" data-src="https://freight.cargo.site/t/original/i/044f2406035926f6c50710a23123cea034395fe34b2e58fb118290a8202c6686/ArchiveofGestures_madres_plazademayo.jpg" data-mid="155814760" border="0"  src="https://freight.cargo.site/w/960/i/044f2406035926f6c50710a23123cea034395fe34b2e58fb118290a8202c6686/ArchiveofGestures_madres_plazademayo.jpg" /&#62;
	

The Mothers of the Plaza de Mayo have been circling one of the main squares of the Argentinian capital Buenos Aires since 1977 in weekly circumambulations to demand the investigation of the disappearance – the assassination – of their children and grandchildren by the military junta which was in power between 1976 and 1983. ︎︎︎


By April 2020, the mothers had circled the square 2194 times


	“The first time we went there we were 14 women, it was Saturday the 30th of April 1977 […]. At first, being very few, we did not march around the monument, as we do today, but we would simply sit on the benches. […] When we were sixty women, the police made us get up from the benches by hitting us with clubs. They ordered us to leave, to move. And so, arm in arm, in small groups, we began to march around the monument in the middle of the square, so they couldn’t send us away. And we haven't stopped since.”&#38;nbsp;︎︎︎
	&#60;img width="490" height="381" width_o="490" height_o="381" data-src="https://freight.cargo.site/t/original/i/b99a116a120160dabe78ed85a5eb98174f2e362f19a5f899c22d22fb1af2a08b/ArchiveofGestures_Ronda-de-las-Madres-de-Plaza-de-Mayo-alrededor-de-la-Piramide-de-Mayo-1981.-Familiares-490x381.jpg" data-mid="155814783" border="0" data-scale="100" src="https://freight.cargo.site/w/490/i/b99a116a120160dabe78ed85a5eb98174f2e362f19a5f899c22d22fb1af2a08b/ArchiveofGestures_Ronda-de-las-Madres-de-Plaza-de-Mayo-alrededor-de-la-Piramide-de-Mayo-1981.-Familiares-490x381.jpg" /&#62;


	To circle is to &#38;nbsp;keep moving while remaining in place.

	
	&#60;img width="278" height="181" width_o="278" height_o="181" data-src="https://freight.cargo.site/t/original/i/06836c4d54004f9ad0d83f994aed8243a979f19f151c68e4c04807400714b8a2/Archive-of-Gestures_spiral-jetty.jpg" data-mid="155814824" border="0"  src="https://freight.cargo.site/w/278/i/06836c4d54004f9ad0d83f994aed8243a979f19f151c68e4c04807400714b8a2/Archive-of-Gestures_spiral-jetty.jpg" /&#62;
Robert Smithson’s Spiral Jetty (1970), a giant spiral made of basalt and sand, and set into the shallow waters of the Great Salt Lake, figures out relations between circles, or spirals and history.&#38;nbsp; ︎︎︎
	

&#60;img width="717" height="534" width_o="717" height_o="534" data-src="https://freight.cargo.site/t/original/i/c2dd44a65d0011b5d83be47c82afdf787446791d6f4b7233d06fe6fae5cf3547/Archive-of-Gestures_spiral-jetty2.jpg" data-mid="155815037" border="0"  src="https://freight.cargo.site/w/717/i/c2dd44a65d0011b5d83be47c82afdf787446791d6f4b7233d06fe6fae5cf3547/Archive-of-Gestures_spiral-jetty2.jpg" /&#62;
Robert Smithson, Spiral Jetty, Documentary. The film reel as a spiral of historiography. 


technologies of revolution,technologies of historiography


	&#60;img width="1280" height="720" width_o="1280" height_o="720" data-src="https://freight.cargo.site/t/original/i/ddaada3c7bcc1e8ecd597b704852d4716def5a4fe61a5674ed34fc7041efb6d8/Archive-of-Gestures_Cassette_Iran.jpeg" data-mid="155815059" border="0"  src="https://freight.cargo.site/w/1000/i/ddaada3c7bcc1e8ecd597b704852d4716def5a4fe61a5674ed34fc7041efb6d8/Archive-of-Gestures_Cassette_Iran.jpeg" /&#62;
Cassette Tape Revolution:
“The Revolt in Iran Spreads on Cassette Tapes”, Michel Foucault, Corriere de la sera, November 19, 1978︎︎︎


	In her book “Whisper tapes,” Negar Mottahedeh replays cassette recordings made by American feminist Kate Millett during feminist protests in the aftermath of the Iranian Revolution around March 8th 1979. “The ability to stop, rewind, rerecord, and fast-forward on hand-held recording devices connects times and otherwise disjointed spaces. ... The unwinding and fast-forwarding of the tapes unmoor the predictability of the .. things we all take for granted: this moment, that time, this person, that space. Spaces and people appear and disappear, sometimes randomly because of the technology itself.”︎︎︎


stop, rewind, fast-forward


	&#60;img width="791" height="474" width_o="791" height_o="474" data-src="https://freight.cargo.site/t/original/i/dd4dfd15d3b194f690aa84d789c5871de331820540cb8e92b2fb078a80eed3ae/Archive-of-Gestures_Mosireen.jpg" data-mid="155815107" border="0"  src="https://freight.cargo.site/w/791/i/dd4dfd15d3b194f690aa84d789c5871de331820540cb8e92b2fb078a80eed3ae/Archive-of-Gestures_Mosireen.jpg" /&#62;Tahrir Cinema/Mosireen, Cairo, 2011
	At the Askar Kaziboon (“Military Liars”) gatherings, images of the slaying of protestors by the armed forces, secret service and the police throughout the twelve months since the revolution commenced, were shown to local audiences across town, in the neighbourhoods, and at Tahrir. During one screening, footage of military atrocities was projected onto the building facing the ministry of defence, and at another onto the headquarters of the Egyptian state TV, which the regime secures with barbed wire, tanks and scores of armed military guards.︎︎︎


&#60;img width="456" height="383" width_o="456" height_o="383" data-src="https://freight.cargo.site/t/original/i/a0477e1e34dccbf481d76be6bfabd3ec5f2f860079dea556d9ac7fc00b46ed87/Archive-of-Gestures_dancing_iran.png" data-mid="155815147" border="0"  src="https://freight.cargo.site/w/456/i/a0477e1e34dccbf481d76be6bfabd3ec5f2f860079dea556d9ac7fc00b46ed87/Archive-of-Gestures_dancing_iran.png" /&#62;
“The circle of headscarf burning. The dance circle around 
the bonfire that traveled from Sari to other cities,” Iran, 2022

	In her essay “Figuring a Women’s Revolution: Bodies Interacting with their Images” Iranian activist L describes the circular relationship - a short-circuit - between images circulating in virtual space and protestors performing those figures in the street.

Image︎︎︎

&#38;nbsp; ︎︎︎Figure &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Figure︎︎︎

 ︎︎︎Image

	
	collective figures


Isadora Duncan, Revolutionary Etude (1921)
	Isadora Duncan (1877-1927) is regarded as a revolutionary of modern dance. Her politics was radical, too. &#38;nbsp;In 1921 she moved to the Soviet Union to take part in the revolution and founded a dance school there, which later failed, due to lack of support from the Soviet state. Until today, her dances are passed down through the generations through direct transmission from dancer to dancer without the use of notation or visual aids.

	from body to body


	Accoring to dance theorist André Lepecki a dance transmits both the message of a choreographic author, and the experience of its subsequent messengers. Dance inserts bodies into the flow of information and capital – as history, as change, as friction, or impurity.︎︎︎

Dance/ ︎︎︎Slightly altered &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Dance


︎︎︎ &#38;nbsp;History &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Performance︎︎︎

︎︎︎Body of the Dancer
 
	&#60;img width="1206" height="1863" width_o="1206" height_o="1863" data-src="https://freight.cargo.site/t/original/i/56a52544265e5a6b26b4398372dc7881ec38ebc84aa9439a48769e496b824164/Archive-of-Gestures_dance-notation.jpg" data-mid="155815177" border="0"  src="https://freight.cargo.site/w/1000/i/56a52544265e5a6b26b4398372dc7881ec38ebc84aa9439a48769e496b824164/Archive-of-Gestures_dance-notation.jpg" /&#62;
Dance Notation


	&#60;img width="600" height="600" width_o="600" height_o="600" data-src="https://freight.cargo.site/t/original/i/29d02fb16be07d32d55a1753aa4ade63f50c524ea313009fa2039c95b29cd6ac/Archive-of-Gestures_spring.jpg" data-mid="155815272" border="0" data-scale="99" src="https://freight.cargo.site/w/600/i/29d02fb16be07d32d55a1753aa4ade63f50c524ea313009fa2039c95b29cd6ac/Archive-of-Gestures_spring.jpg" /&#62;Circling Geometries #5: from circle to spring
	In 3D, a circle folds out into a helical spring. A circling is complexified: Seen from the top, a full circle returns you to the same place. Seen from the side, the circling reveals its irreversibility as the distance between the two loops. Change and non-change coexist, what you see is a function of from where you look.


after the end...


	“The nation’s [same] backscratchers, those perpetual opportunists, who flourish on the dung of whichever system, are the ones that have made sure they are safe again, that nod along with everything, and come out on top no matter what.”
(East German worker, interviewed in July 1990
	

“I would do it again, in exactly the same way. I would wear myself out again, fighting in the exact same wrong way, that is, of course, in the exact same right way, with the exact same non-effect. I would not do anything differently at all. And in the end, I would be a little wiser for it all the same.”(another East German worker, interviewed in July 1990). ︎︎︎

	
...before 
the beginning.

	
	&#60;img width="788" height="556" width_o="788" height_o="556" data-src="https://freight.cargo.site/t/original/i/e55132731352621c5d4621f7d43f12f5a1194002e921ee3aa4d6fa2d8b59267c/Archive-of-Gestures_Banners_1989.jpg" data-mid="155815880" border="0"  src="https://freight.cargo.site/w/788/i/e55132731352621c5d4621f7d43f12f5a1194002e921ee3aa4d6fa2d8b59267c/Archive-of-Gestures_Banners_1989.jpg" /&#62;Banners, Dresden, 1989
	“Aren’t you afraid of a second revolution in the East?”
was a question directed by a TV-interviewer to Carsten Rohwedder, the then head of the Treuhand Agency (the agency tasked with the privatisation of East Germany’s formerly state owned enterprises). The question points to the largely forgotten history of post-1990 protests in East Germany.︎︎︎ 


History is a helical spring.


&#60;img width="433" height="344" width_o="433" height_o="344" data-src="https://freight.cargo.site/t/original/i/a37a4426640be4119aa89bec5c58eabb47772496f6504c33cd5df7ba97c7d693/Archive-of-Gestures_Palast-der-Republik.jpeg" data-mid="155815432" border="0"  src="https://freight.cargo.site/w/433/i/a37a4426640be4119aa89bec5c58eabb47772496f6504c33cd5df7ba97c7d693/Archive-of-Gestures_Palast-der-Republik.jpeg" /&#62;Berlin, former Palace of the Republic, July 1991

	
In a helical spring, a circling remains forever incomplete.

	
	...1989201120132022...


	The potential energy held by a (ideal) spring is a product of a coefficient – the qualities of the spring, its material, thickness, its diameter – and the length of the displacement from its rest position. To press down a spring requires work, that is, the magnitude of the force times the displacement (in the direction of the force). To keep the spring still, that is, from expanding once more, force is required, constantly.
	&#60;img width="300" height="318" width_o="300" height_o="318" data-src="https://freight.cargo.site/t/original/i/ba5baa19c1901e6a9e1a76759d3be09b89c90212fe7d796edf71b3c332a36701/spring-compressed-force.png" data-mid="161943111" border="0"  src="https://freight.cargo.site/w/300/i/ba5baa19c1901e6a9e1a76759d3be09b89c90212fe7d796edf71b3c332a36701/spring-compressed-force.png" /&#62;
Circling Geometries #6: 
the physics of compression.


... to be continued

︎︎︎


</description>
		
	</item>
		
		
	<item>
		<title>Image credits_1</title>
				
		<link>https://archiveofgestures.net/Image-credits_1</link>

		<pubDate>Tue, 09 May 2023 14:27:38 +0000</pubDate>

		<dc:creator>Archive of Gestures</dc:creator>

		<guid isPermaLink="true">https://archiveofgestures.net/Image-credits_1</guid>

		<description>
	for Image Credits Circling click HERE. &#38;nbsp;


</description>
		
	</item>
		
		
	<item>
		<title>Circling Top copy</title>
				
		<link>https://archiveofgestures.net/Circling-Top-copy</link>

		<pubDate>Tue, 16 Aug 2022 10:38:25 +0000</pubDate>

		<dc:creator>Archive of Gestures</dc:creator>

		<guid isPermaLink="true">https://archiveofgestures.net/Circling-Top-copy</guid>

		<description>
	&#60;img width="1587" height="1586" width_o="1587" height_o="1586" data-src="https://freight.cargo.site/t/original/i/599f6bb2bb10f18526c20f006769c3335d398265bbb4caab8c30cc2e4777f288/Archive-of-Gestures---Icons---3-01.png" data-mid="150527557" border="0" data-scale="30" data-no-zoom src="https://freight.cargo.site/w/1000/i/599f6bb2bb10f18526c20f006769c3335d398265bbb4caab8c30cc2e4777f288/Archive-of-Gestures---Icons---3-01.png" /&#62;


Another Round, single-channel video, loop,
2012/2022

					
Material: Video Footage recorded spon -
taneously while driving around Tahri Square, Cairo, on the evening of 20 February 2012; various sounds Cairo, 2011 to
2012 (found online, e.g. in the 858 Archive by Mosireen Collective); video snippet,
Tahrir Square, 2021


	To circle is to form a circle, to surround or move along a circle
around something. To revolve is, similarly, to orbit a central
point, or to turn on an axis, but also to recur at periodical
intervals. Circling combines continuous movement with
remaining in place. Geometrically, a circle can open into a
helix, a spring, when imagined in 3D. In physics, a revolution
refers to the periodic movement of an object around a focal
point, which is enabled by the balancing of an inward accel-
eration and a tangential velocity. In its wider usage it refers to
a sudden radical change in a system of ideas or technologies,
a process of potentially violent social and political transition,
the overthrow of a regime. In Marxist theory, a revolution is
the violent and historically necessary changeover from one system to another.


</description>
		
	</item>
		
		
	<item>
		<title>Circling Bottom copy</title>
				
		<link>https://archiveofgestures.net/Circling-Bottom-copy</link>

		<pubDate>Tue, 16 Aug 2022 10:38:36 +0000</pubDate>

		<dc:creator>Archive of Gestures</dc:creator>

		<guid isPermaLink="true">https://archiveofgestures.net/Circling-Bottom-copy</guid>

		<description>
	

***CIRCLING &#38;nbsp;is currently being constructed.***


&#60;img width="2250" height="2310" width_o="2250" height_o="2310" data-src="https://freight.cargo.site/t/original/i/976b99d09ca383d1fae5a37338737b3b941e963a53066a9c625e3ff5884e400d/spiral_floating.png" data-mid="150720133" border="0"  src="https://freight.cargo.site/w/1000/i/976b99d09ca383d1fae5a37338737b3b941e963a53066a9c625e3ff5884e400d/spiral_floating.png" /&#62;


Geometries of Change

&#60;img width="1516" height="1504" width_o="1516" height_o="1504" data-src="https://freight.cargo.site/t/original/i/329d7b896b26aa3181a2c7863f695323a7ea55259c4fe969c72f1432f84847d5/IMAGE-04_K_G.png" data-mid="150527562" border="0" data-no-zoom="true" alt="In his text &#38;quot;Der wundert&#38;auml;tige Tisch&#38;quot;, media scholar Philipp Goll describes the Polish Round Table not so much as a tool of political action, but as its medium, or even, a political actor in its own right. " data-caption="In his text &#38;quot;Der wundertätige Tisch&#38;quot;, media scholar Philipp Goll describes the Polish Round Table not so much as a tool of political action, but as its medium, or even, a political actor in its own right. " src="https://freight.cargo.site/w/1000/i/329d7b896b26aa3181a2c7863f695323a7ea55259c4fe969c72f1432f84847d5/IMAGE-04_K_G.png" /&#62;


Spinning, Twirling, Circling out of oneself.&#38;nbsp;︎︎︎


&#60;img width="1643" height="788" width_o="1643" height_o="788" data-src="https://freight.cargo.site/t/original/i/703fe5310d007ab1d106fb0157298588704f0f4907367e5083095ba69f6265ee/moebius3.jpg" data-mid="150527567" border="0" data-no-zoom data-draggable alt="Geometries of Change #2" data-caption="Geometries of Change #2" src="https://freight.cargo.site/w/1000/i/703fe5310d007ab1d106fb0157298588704f0f4907367e5083095ba69f6265ee/moebius3.jpg" /&#62;
Geometrien der Versammlung. Excerpt from a speech, 1990
︎︎︎
	вре́мя: circular timeEtymologically the Russian word vremya (“time”) comes from the Ancient Slavonic v˴ rtmen (“turning”) and the Ancient Indian root vart – “turning”.

&#60;img width="960" height="666" width_o="960" height_o="666" data-src="https://freight.cargo.site/t/original/i/3c8dc37ea6f1e75c56dffc14d8fc106341b764e93a3ffb76905bc87aa95fa245/image-02_madres.jpg" data-mid="150527561" border="0" data-no-zoom src="https://freight.cargo.site/w/960/i/3c8dc37ea6f1e75c56dffc14d8fc106341b764e93a3ffb76905bc87aa95fa245/image-02_madres.jpg" /&#62;The Mothers of the Plaza de Mayo have been circling one of the main squares of the Argentinian capital Buenos Aires since 1977 in weekly circumambulations to demand the investigation of their disappearance – the assassination – of their chidren and grandchildren by the military junta which was in power between 1976 to 1983.
︎︎︎


&#60;img width="1622" height="1568" width_o="1622" height_o="1568" data-src="https://freight.cargo.site/t/original/i/fe4e5c646bd61fc0baeb0eb7d38233d7bb6a9d90a8f5cc4e4230536d032d1221/circle_diagram_floating.png" data-mid="150720134" border="0"  src="https://freight.cargo.site/w/1000/i/fe4e5c646bd61fc0baeb0eb7d38233d7bb6a9d90a8f5cc4e4230536d032d1221/circle_diagram_floating.png" /&#62;


when a Circle becomes a Spring
(Geometries of change: A two-dimensional circle would return its circumambulators to the exact same place. In 3D, a circle becomes a helical spring; a circling is complexified: Seen from the top, a full circle returns you to the same place. Seen from the side, the circling reveals its irreversibility as the distance between the two loops. Change and non-change coexist, what you see is are a function of from where you look.)


Roundabout&#38;nbsp;Revolutions
︎︎︎


&#60;img width="480" height="371" width_o="480" height_o="371" data-src="https://freight.cargo.site/t/original/i/8b060fb86fde67d7e53d82b237a3b471e81011eae9c92906cca63930f945edd3/IMAGE-06_simone-forti.png" data-mid="150527570" border="0"  src="https://freight.cargo.site/w/480/i/8b060fb86fde67d7e53d82b237a3b471e81011eae9c92906cca63930f945edd3/IMAGE-06_simone-forti.png" /&#62;Simone Forti, the dancer and choreographer, developed some dance pieces and exercises that explore how a body produces and integrates knowledge physically - based on forms of circling. 
︎︎︎
&#38;amp;amp;amp;amp;amp;amp;amp;lt;a href="Trop-tot" rel="history"&#38;amp;amp;amp;amp;amp;amp;amp;gt;&#38;amp;amp;amp;amp;amp;amp;amp;lt;/a&#38;amp;amp;amp;amp;amp;amp;amp;gt;The filmTrop tôt, trop tard, produced by French filmmakers Danièle Huillet and Jean-Marie Straub in 1982, starts with a camera, mounted on a car driving repeatedly around the Place de la Bastille in Paris.


&#60;img width="805" height="317" width_o="805" height_o="317" data-src="https://freight.cargo.site/t/original/i/17cd0106b730a0e1c4480118df43c56dce85509c6201cb928b66f102e486bfb3/IMAGE-05_RT.jpg" data-mid="150527563" border="0" data-no-zoom src="https://freight.cargo.site/w/805/i/17cd0106b730a0e1c4480118df43c56dce85509c6201cb928b66f102e486bfb3/IMAGE-05_RT.jpg" /&#62;
The Round Table of the GDR was not round.&#38;nbsp;
︎︎︎


&#60;img width="225" height="225" width_o="225" height_o="225" data-src="https://freight.cargo.site/t/original/i/93cc57fb78434e829be5b9fef95acc0280f81340090f7e38b9f0df61cb44d10b/image-01_spring.jpg" data-mid="150527560" border="0"  src="https://freight.cargo.site/w/225/i/93cc57fb78434e829be5b9fef95acc0280f81340090f7e38b9f0df61cb44d10b/image-01_spring.jpg" /&#62;


In her dance piece “On Speeches” dancer and choreographer Jasmin İhraç connects up gestures of circling with a re-performance of political speeches - among others by Angela Davis, Cornell West, Slavoj Zizek.

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		<title>Caminhandos</title>
				
		<link>https://archiveofgestures.net/Caminhandos</link>

		<pubDate>Mon, 10 Oct 2022 10:54:28 +0000</pubDate>

		<dc:creator>Archive of Gestures</dc:creator>

		<guid isPermaLink="true">https://archiveofgestures.net/Caminhandos</guid>

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	Lygia Clark: Caminhandos&#38;nbsp;
&#60;img width="256" height="165" width_o="256" height_o="165" data-src="https://freight.cargo.site/t/original/i/d8bbad887a083fcb37471e2bce3d75cd5380836a8a674c0949095941a92bc1d8/caminhando.jpg" data-mid="155357452" border="0"  src="https://freight.cargo.site/w/256/i/d8bbad887a083fcb37471e2bce3d75cd5380836a8a674c0949095941a92bc1d8/caminhando.jpg" /&#62;
The Caminhandos (1963) of Brasilian artist Lygia Clark consist of Moebius bands being cut by the viewers-actors of the work. This process of cutting, that is, the process in which the work manifests itself, creates a disorientation of time and space: For a moment, left and right, object and subject, making and consuming become hard, or impossible to tell apart. To Clark, the Caminhando is like a landscape that makes itself “through a window of a moving train:”[1] endless in its potential expansion, but immanent in the finiteness of the framing provided by the window of the train. Like a landscape making itself in the lens of a camera, filming out of the window of a circling car. “Each fragment like a totality in time, a totality of being, making itself in front of my eyes, in the immanence of the moment. […] the moment, the decisive thing.”[2]

[1] Lygia Clark and Fundació Antoni Tàpies, Lygia Clark: Fundació Antoni Tàpies, Barcelona, 21 octobre-21 décembre 1997 ... (Barcelona [etc.]: Fundació Antoni Tàpies [etc.], 1998), 152.

[2] Ibid.


︎︎︎ CIRCLING


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		<title>Nothing has changed. Egypt</title>
				
		<link>https://archiveofgestures.net/Nothing-has-changed-Egypt</link>

		<pubDate>Sun, 19 Jun 2022 12:20:47 +0000</pubDate>

		<dc:creator>Archive of Gestures</dc:creator>

		<guid isPermaLink="true">https://archiveofgestures.net/Nothing-has-changed-Egypt</guid>

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	Nothing has changed. Nothing will ever be the same again. Egypt, 2011

Writing about the Egyptian revolution in late 2011, Nasser Abourahme and May Jayyusi [1]&#38;nbsp;ask what to make of a revolution that does not result in permanent change, the installation of a new regime that serves people better than the previous one. What was the value of an uprising, especially of such a duration and scale, if it did not stabilise itself into positive institutional, material change? If it only appeared to have added itself to the litany of attempts and failures to tackle the multi-fold inequalities it had set out, once more, to alleviate? If a short-lived promise – and concrete experience – of “directing the fate of [one’s] political lives” had returned everyone to their same place of deprivation, hopelessness, and despair?

 Looking back from December 2011, over the past 12 months, and looking back from December 2011 over Egypt’s modern history, what could Abourahme and Jayyussi see, what could anyone really see, if not history, simply delivering its inevitable let-downs, infinitely? 
 “And yet,” the two authors continue, “even as we write these words of caution, can anyone contest that nothing will ever be the same again?
[1] Nasser Abourahme and May Jayyusi, “The Will to Revolt and the Spectre of the Real: Reflections on the Arab Moment,” City 15, no. 6 (December 2011): 625–30.


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︎︎︎ CIRCLING


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