Gina Lafour, student and activist, and Juanita Lalji, former member of the National Organization of Surinamese in the Netherlands (LOSON), in dialogue. From Wendelien van Oldenborgh, Prologue: Squat/Anti-Squat, 2016.
The term “colonial-modern” refers to the title of a book that was influential in thinking about this essay: Colonial Modern: Aesthetics of the Past, Rebellions for the Future, eds. Tom Avermaete, Serhat Karakayali, and Marion von Osten (Black Dog, 2010).
Denise Ferreira da Silva, “The Racial Event or that Which Happens Without Time,” in The Two-Sided Lake: Scenarios, Storyboards and Sets from Liverpool Biennial 2016 (Liverpool University Press, 2017).
The term “colonial-capitalistic” is introduced by Suely Rolnik in her inspiring text “The Spheres of Insurrection: Suggestions for Combating the Pimping of Life,” e-flux journal 86, (November 2017) →. In addition, the way “'reading” is meant here is informed by Denise Ferreira da Silva and Valentina Desideri’s concept of “poethical readings.”
See →.
See →.
The anti-squat agency for Tripolis was De Zwerfkei, who pride themselves on having introduced anti-squatting thirty years ago. See →.
Since that time, EPOC has changed its name to Bright!, and in July 2017 AXA sold Tripolis to the New York-based “multinational private equity, alternative asset management and financial service group” Blackstone, for six million euros less than what they had paid for it in 2003. See → (in Dutch). For Blackstone, see →.
In a 1963 review in Film Quarterly, Susan Sontag wrote of Resnais’s film: “It attempts to deal with substantive issues—war guilt over Algeria, the OAS, the racism of the colonies … But it also attempts to project a purely abstract drama.”
Tom Avermaete, “Nomadic Experts and Travelling Perspectives: Colonial Modernity and the Epistemological Shift in Modern Architectural Culture,” in Colonial Modern.
For elaboration on this “back-then” and “over-there” as constant attempts to separate ourselves from colonial space and time, see Ferreira da Silva, “The Racial Event.”
See Ismail Xavier, Allegories of Underdevelopment: Aesthetics and Politics in Modern Brazilian Cinema (University of Minnesota Press, 1997).
Xavier, Allegories of Underdevelopment.
Pedro Costa’s three main films about Fontainhas are Ossos (1997), In Vanda’s Room (2000), and Colossal Youth (2006).
Pier Paolo Pasolini theorized cinema as a language system that is fundamentally irrational and related to memories and dreams. See The “Cinema of Poetry” in Pasolini, Heretical Empiricism (New Academia Publishing, 1972), 172–73.
Wendelien van Oldenborgh, Prologue: Squat/Anti-Squat, 2016, with Khadija Al’Morabid, Quinsy Gario, Hellen Felter, Roel Griffioen, Lucien Lafour, Gina Lafour, Juanita Lalji, André Reeder, University of Colour: Max de Ploeg and Tirza, Kees Visser.