ARCHIVO PAPERS <p><em>Archivo Papers</em> is an interdisciplinary double blind peer-reviewed journal founded in 2021 and published by <a href="">ARCHIVO PRESS</a>. </p> <p><em>APJ</em> is published twice a year and is devoted to the practice, theory and criticism of photography and lens-based media, understood through an expanded field and ranging across all geographical and cultural contexts. It has an interdisciplinary character that provides diverse scholarly approaches, both practical and theoretical, contributing toward the development of visually-based research in photography, visual studies, art history and visual culture, cultural and media studies, documentary, sociology, anthropology, as well as other fields related to image-based study.</p> Archivo Press en-US ARCHIVO PAPERS 2184-9218 <p>The content published on <em>Archivo Papers</em> is licensed under a Creative Commons Attribution-NonCommercial-NoDerivates 4.0 International License. </p> We Live Like Trees Inside the Footsteps of our Ancestors <p><span class="TextRun SCXW260717909 BCX0" lang="EN-GB" xml:lang="EN-GB" data-contrast="auto"><span class="NormalTextRun SCXW260717909 BCX0">This text reviews the exhibition "We Live Like Trees Inside the Footsteps of our Ancestors", open for visits from 12 May to 22 July 2023 at the Blenheim Walk Gallery at Leeds Arts University. Curated by Dr Mariana Cunha (University of Westminster) &amp; Dr Marianna </span><span class="NormalTextRun SCXW260717909 BCX0">Tsionki</span><span class="NormalTextRun SCXW260717909 BCX0"> (Leeds Arts University) with the participation of the artists Marianne Hoffmeister Castro, Jeannette Muñoz, Renata Padovan, Maya Watanabe, the exhibition explored the fragility of the ecosystems in Latin America on the aftermath of the coloniality and erasure of indigenous knowledge. The artworks in the exhibition portrayed a mapping of the region, showing the delicate balance between life and death and the disappearance of the communities and local wisdom on the brink of environmental emergencies</span><span class="NormalTextRun SCXW260717909 BCX0">. </span></span><span class="EOP SCXW260717909 BCX0" data-ccp-props="{&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559739&quot;:160,&quot;335559740&quot;:480}"> </span></p> Gabriela Saenger Silva Copyright (c) 2023 © The Author(s), under exclusive license to Archivo Press, 2023 2023-10-26 2023-10-26 3 2 119 126 10.5281/zenodo.10038206 Photography's Enduring Life <p>Museum <em>Kunstwerk</em> hosted a special exhibition that explored Native American photographic portraiture and questioned its ambivalent status as both fine art and a powerful political tool. Displaying the works of two US-american artists, Edward Sheriff Curtis and Will Wilson, the exhibition not only bridged a century of different modes of representation, but also confronted irreconcilable (de)colonial imaginaries: Curtis’ non-Indian point of view on the one hand, the Native American perspective of the Diné photographer Wilson on the other.</p> <p> </p> Beate Pittnauer Copyright (c) 2023 © The Author(s), under exclusive license to Archivo Press, 2023 2023-10-26 2023-10-26 3 2 127 135 10.5281/zenodo.10038224 Digitising the Fortaleza de la Mujer Maya Archive <p>This article will present some notes on the possibilities and limits of archiving or cataloguing living cultural processes based on the experience of digitising the photographic archive <em>Fortaleza de la Mujer Maya</em>. Latin American visual culture studies and the functioning of the association based on dialogic and collaborative learning have been our paths to carry out this study.</p> Belén Romero Copyright (c) 2023 © The Author(s), under exclusive license to Archivo Press, 2023 2023-10-26 2023-10-26 3 2 11 29 10.5281/zenodo.10038009 Urban Earthdivers and the Immodest Messiah as Decolonial Worldmakers <p style="font-weight: 400;">The discussion explores the work of Kent Monkman in view of questions of indigeneity in the visual arts by drawing on the concept of the postindian created by the Anishinaabe author and theorist Gerald Vizenor and the figure of the urban earthdiver, where he re-imagines the earthdiving trickster of Native American Indian creation myths as mixed-blood contemporary worldmaker and decolonial agent of change. The propositions inherent in the work will be discussed in relation to notions of the post-abyssal and an ecology of knowledges by Boaventura de Sousa Santos and the conception of de-linking entailed in decoloniality, a particular and influential approach to decolonising put forward by Walter Mignolo.</p> Renate Dohmen Copyright (c) 2023 © The Author(s), under exclusive license to Archivo Press, 2023 2023-10-26 2023-10-26 3 2 31 50 10.5281/zenodo.10038040 Elements of Colonisation and Indigenisation <p>This article discusses the nature of indigenisation seen on the murals of Syrian Christian churches in Kerala, focussing on St. Mary’s Jacobite church in Angamaly, Ernakulam. Kerala has several churches with elaborate murals, which have not received sufficient attention, and quite a few questions remain unexplored. These church murals were formed out of interactions between the Portuguese, the church of the East and the local religion. In the 16th century, the Portuguese exerted control over Kerala churches that had formerly been affiliated with the Church of the East. Some of the questions addressed in the article are: What are instances of indigenization seen on church murals? What are the different kinds of indigenization visible? How does this weave into a global narrative? What is the colonial and decolonial politics behind such image representation? These areas are discussed in the following article.</p> Nevin Dalvin Copyright (c) 2023 © The Author(s), under exclusive license to Archivo Press, 2023 2023-10-26 2023-10-26 3 2 51 67 10.5281/zenodo.10038099 Life and its Transits as an Art Studio <div><span lang="EN-US">The interview is an excerpt from a dialogue that took place in two video calls between the author and co-author and visual artist Arissana Pataxó in 2022. The conversation is part of the project “A South–North Dialogue on Afro-Indigenous Art”, which aims to bring Brazilian and Sámi indigenous artists into dialogue. The interview is organized through an open dialogue that covers the artist's ways of producing, linked to community life and her daily life as a community educator.</span></div> Laura Burocco Arissana Souza Copyright (c) 2023 © The Author(s), under exclusive license to Archivo Press, 2023 2023-10-26 2023-10-26 3 2 69 84 10.5281/zenodo.10038145 Decolonial Visualities <p>This issue aims to contribute to ongoing discussions in decolonial thought and visual culture studies regarding the potentialities of othered approaches to image-making beyond Western-centred conceptualizations of the image and its visualities. Specifically, this publication looks at the importance of Indigenizing visual cultural studies in order to effectively decolonize an inter-discipline that has historically obviated its Western-centric biases. Drawing upon the concepts of decolonial aestheSis, the right to look, and Indigenous visual sovereignty, this issue presents texts addressing the Indigenization of visual culture as a means for decolonizing the fields of visual culture studies and contemporary art studies.</p> Nasheli Jiménez del Val Copyright (c) 2023 © The Author(s), under exclusive license to Archivo Press 2023-10-26 2023-10-26 3 2 7 10 10.5281/zenodo.10037935 Aesthetics of Poverty <p>Indigeneity is usually framed as modernity’s other. It is a narrative that confines Indigenous peoples to a place of deprived marginality or exotic romanticism. This perception is especially prevalent in mainstream visual representation of Indigenous people. In this photographic series, I seek to challenge the dichotomy between tradition and modernity by overlapping seemingly disparate elements such as traditional textiles and modern architecture. I started this exploration by mimicking early 19<sup>th</sup> century ethnological photography and current neoliberal multiculturalist imagery. In both cases, I use my own body, as an Indigenous woman of Aymara origin, to explore the mechanisms through which historical heritage operates simultaneously as emancipatory resistance and neo-colonial oppression.</p> Pamela Gomez Copyright (c) 2023 © The Author(s), under exclusive license to Archivo Press, 2023 2023-10-26 2023-10-26 3 2 85 99 10.5281/zenodo.10038173 Daemonicycles <p>The starting point for this visual investigation was an image from the photographic album of the border delimitation mission of a section of the Angolan/Congolese (DRC) frontier. The image shows a lunch at the Portuguese camp on the 5th of October 1914. Sitting at the table are six white men – the three commanding officers from each colonial power, Portugal and Belgium. Standing at the back of the construction that serves as a dining room, is a black servant. His head, merged into the background, is invisible. From the original glass negative of this shot, it was possible to retrieve this man’s features. The image was reprinted, cut up and reworked in various manners including collage and photography, a short animation photo essay – O Festim [the Feast] – and a web-based experiment – Daemonicycles – of which this visual essay is an interpretation. The work intends to reflect upon history and colonialism, considering power dynamics, cosmology and culture and the enduring phantoms that haunt us still today.</p> Soraya Vasconcelos Copyright (c) 2023 © The Author(s), under exclusive license to Archivo Press, 2023 2023-10-26 2023-10-26 3 2 101 117 10.5281/zenodo.10038188 Ancestral Gratitude Bridge <p>Ancestral Gratitude Bridge was created in response to the high suicide rate of Native youth. The immersive experience is rooted in original teachings of gratitude expressed through the Thanksgiving Address with recognizable environmental and cultural scenes. The experience is a reminder of all of our relations, from the bugs, to the winds, to the birds and people. The teaching and experience is a reminder that they are never alone, but always supported and surrounded by community, not only the 2 and 4 legged kind. It is being engaged with across Haudenosaunee territory and an expanded version with additional landscapes representing the Emirate territory was recently on view at the Sharjah Art Biennial 15: <em>Thinking Historically in the Present</em>.</p> Tahila Mintz Copyright (c) 2023 © The Author(s), under exclusive license to Archivo Press, 2023 2023-10-26 2023-10-26 3 2 136 141 10.5281/zenodo.10038270