Disnarrated

Considering the role of cultural memory, Disnarrated* reflects on the legacy of artists whose work has been relevant to the de-hierarchization of canonical norms through strategies of self-historicization: the visible, the speakable, and the thinkable. In doing so, we hope to unify forms of knowledge, compounding ‘thinking’, ‘doing’ and ‘feeling’, as a method of grasping at the complexity of dispossession, resilience and resistance.

The Disnarrated experiments with new thinking-displaying methodologies that simultaneously interrogate established archival processes. We are interested in practices, such as those coming from the fields of performance, dance, and poetry, that acknowledge the subjective memory of objects, bringing us closer to conceptions of ephemerality, uncertainty and the act of archiving itself.

* Borrowing the term from literary theorist Gerald Prince, ‘Disnarrated’ (Style, vol. 22, 1988) is an interpretive device expansively employed to investigate notions of the tellable and the unmentioned within the dominant narratives used to understand our shared past.