عينيك التانية وحشتني

I miss your other eyes 

بحث صوري يعلق عـلى ظـاهـرة الأرشـفة الــهاويــة الإبــاحــية الــتي تــبلورت فــي الــعالــم الــعربــي فــي الــسنوات العشــريــن المــاضــية. الـــعمل يـــنغمس فـــي تـــساؤلات حـــول كـــيفية روايـــة مـــشاهـــد الـــعنف 
،مـــن خـــلال الـــنظر إلـــى الـــصورة كمشهـــد مـــن الـــــتوتـــــرات الـــــعضلية مـــــا بـــــين الـــــعين، الشاشة
الـــــيد والـــــــــصوت. عندها يـــــــــصبح الـــــــــغالق لـــــــــيس فـــــــــقط تـــــكنولـــــوجـــــيا الـــــتقاط وتجـــــميد (رســـــخ) بـــــل طــريــقة مــناورة وحــركــة وتــمثيل تــحت ضــغط عــدســة الــتصويــر. كــيف إذاً يــمكن لــتكنيكات المــــونــــتاج أن تــــفتح هــــذه الــــتساؤلات حــــول الـــــتعامـــــل مـــــع الـــــكامـــــيرا لـــــيس فـــــقط كـــــآلـــــة محـمولـة بـالـيد، بـل كـآلـية قـابـلة لـلتوتـير عـن طـــــــريق الـــــــعديـــــــد مـــــــن الـــــــعزوم عـــــــن  بـــــــعد كالتعصيب والتصفيق والاختباء

This work is a research into the amateur archival practice of an internet forum under the name “Amir Adhalam Genuine Forums منتديات أمير الظّلام الماجدة الأصليّة” which had been dedicated since 2006 for collecting and circulating Arabic amateur pornographic material. The archive is a collection of files that date back to 1990s, and  were  mostly produced under domestic, extremely precarious conditions.

On the one hand, one can say that these images are the material witness (Susan Schuppli) of the conditions under which the camera had operated. On the other hand, the circulation of such material maintains the slow violence of the image (Urok Shirhan).

To go about this photographic paradox—that the circulation of evidence of violence is part of the performative violence of the image; I introduce cutting as a main archival method. The question of “What does it mean to cut well?” (Sarah Kember and Joanna Zylinska) becomes the ethical imperative of my archival practice. for example such process of cutting is already at work as the poor image materially collapses, creases and glitches in resistance to the rewinding (VHS material) and the subsequent digital circulation of the videos in online environments.

By looking at the image as a scene of tensions between the eye, the screen, the hand and the voice, the shutter becomes clearly not just a technology of capturing/freezing but a method of operating/moving/acting under the pressure of the lens. How can then techniques of montage unfold the complex handling of the camera not only as held by a man’s hand, but as operated through many possible and impossible tele-powers such as snapping, slapping, clapping and hiding.

Film stills from the glitch archive 

 Nieuwe Vide, Haarlem, NL, 2020 as part of group
exhibition Queer Diasporas

ArtScience, KABK, NL, 2022

MONO, Rotterdam, NL, 2022, as part of New Radicalisms Festival 

Glitched frames extracted from one of the found videos. Every frame lasts 0,07 seconds in the original file making them almost invisible.