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  • Megan Hoetger, PhD
  • About

Megan Hoetger, PhD, Projects

  • Conversational (8)
  • Curatorial (7)
  • Editorial (8)
  • Exhibitionary (4)
  • Presentational (4)
  • Production (5)
  • Workshop (8)
  • Writing (14)

An archive of projects, collaborations, and engagements organized according to typologies of labor performed.

Upcoming

Thought-sounds, in collaboration with Paula Montecinos Oliva and After the siren, before the bell (a traveling sound system by Marissa Lee Benedict and David Rueter). Hosted by de Appel, Amsterdam on 7 April 2025.

“Active Archives. On Performance Curatorial Research and Historiographic Method” in The Routledge Companion to Performance Art, edited by Lucian O’Connor, et al. (Routledge, forthcoming 2025).

“Performances of Cinema, Performance Historiography, and Archival Counterapproaches” in Performance/Archiv, edited by Barbara Büscher, Franz Anton Cramer, and Ulrike Hanstein (VALIE EXPORT Center and University of Arts Linz, forthcoming 2025).

  • Body + Motion. Mapping Movements from Early Photography to the Era of Video Art

    2024

    • Presentational
    Black and white photograph of Joan Jonas' face. At the bottom, the photograph is covered with a area in blue. The event details, in Polish, appear in white on top of blue.
    A person's head appears in front of a powerpoint slide projection. The white slide asks two questions about how the usage of photography and video throughout the twentieth century, which appear in black.
    Several people, sitting on chairs, face the front of the room, where a person is delivering a presentation. Behind the presenter, a slide is being projected onto a screen.
    A black-and-white photograph shows a male presenting person chopping wood with a hammer. There are white dotted lines on the photograph, which collide in the person's hand.
    A male presenting person appears running in 20 frames. In 10 of these, which occupy the majority of the image, the side perspective is shown. In the remaining 10, the pictures have been taken from a frontal perspective.
    Several people, sitting on chairs, face the front of the room, where a person is delivering a presentation. Behind the presenter, a slide with two photographs is being projected onto a screen.
    Artistic installation made up of two small TVs connected to each other by a see-through plastic-like material.
    Black-and-white photograph showing Joan Jonas' face and half of her hand. The image has been rotated horizontally.

    b-m04b.mp4 

    A person sits behind a desk and a computer, delivering a presentation. Behind them, a slide is being projected.

    b-m04c.mp4 

    CCA Łaźnia website 

  • book talk “Armed by Design”

    2024

    • Conversational
    Square with pink background. The book cover of
    Two copies of the book
    Two people are having a discussion in front of a screen showing an image and some text.
    Two people are having a discussion in front of a screen showing an image and some text. One of them is looking at the screen and the other faces their laptop.
    Two people are having a discussion in front of a screen showing several images.
    A hand is holding a book open, showing two pages with several posters.
    Two people are having a discussion in front of a screen showing an image. One of them is holding a poster, which the other person looks towards.
    A book has been left open on a table. There is a photograph on the left page and a text on the right. A small image on the right hand page says
    A hand is holding a book open. On the left page, there is a text written in French. There is an image on the right page.

    book webshop 

    Interference Archive 

  • I don’t believe in revolution, but sometimes I get in the spirit

    2024

    • Writing
    Website with white background. Occupying the majority of the image is the entry for
    An A4 sheet of paper has been filled with handwritten notes. Slightly on top of it, at the bottom, is another sheet of paper, printed digitally. It says 'Co' in a large font.
    A person sits at a table delivering a presentation. Behind them a slide is being projected. The slide is titled 'Accidental archivism' and shows two images. One of a group of people around a camera and another of a male presenting person in a natural setting.
    A slide with an image is being projected. The image is a photograph of a shelf of books annotated with colourful sticky notes.
    Travel postcards and brochures have been set on a table. A group of people is standing around it. Two people observe one of the postcards closely.
    A magnetic flipchart easel has been filled with notes. Behind it, to the left, something is being projected on a screen.
    A film is being projected onto a screen. The captured frame shows a monument with a star on top. Behind it, several flag poles remain empty. The subtitle reads:

    Our Many Easts program description 

    full online text 

  • ‘It Was The Way We Lived’: On Underground Cinema, Reproductive Labor, and Curating

    2024

    • Writing
    Illustration of red-headed person leaning back on elbows in grass. They are wearing a orange jacket.
    Book spread with table of contents on the left page and a photograph of a young person sitting on a sofa and holding a dog on the right page. The background is white, and the text and photograph appear in black.
    A feminine-presenting person holds a baby and faces the camera. To the left, a masculine-presenting person, wearing sunglasses, looks away.
    Book spread. On the left page, a photograph shows a feminine-presenting person holding a baby and facing the camera. To the left, a masculine-presenting person, wearing sunglasses, looks away. On the right page, the first page of the article
    Collage made from a newspaper page. Half of the page is occupied by a photograph depicting a group of people standing in front of a storefront. At the bottom half, there's an article with a photo and a missing chunk, on top of which there's a cut out from a different page, which only partially occupies the missing space.
    A group of three masculine-presenting people stand by the open door of a small Volkswagen bus, facing the inside.
    Section of a poster. It shows a black and while photograph with two people dressed in black, standing against a white background. On top of the photo, in red, there is a drawing of a clown and some handwritten notes. The event name appears above the photo.

    mhoetger_it-was-the-way-we-lived_octopus-notes-11-2024.pdf [pdf, 9.47 MB] 

    more info on XSCREEN 

    more info on Birgit Hein 

    Octopus Notes, No. 11 

  • screening “And still, it remains”

    2024

    • Conversational

    Part of:Performing Colonial Toxicity

    A person, squatting down, faces an arid area, with hills at the distance. They appears to be wearing a light blue long garment and a turban.
    A worn-out sign, with the word Zone still visible, hangs on a building. In the background, there is a hill in an arid area. A subtitle reads:
    Hands, arms and torsos of a group of four people. They are sitting around a rock, where they are placing small rocks on top of a square one of them is drawing.
    Arid area with sandy hills. A subtitle reads:
    Three people sit around a low table having a discussion. Two of them hold microphones. There is a book propped up on the table.
    Profitez des vidéos et de la musique que vous aimez, mettez en ligne des contenus originaux, et partagez-les avec vos amis, vos proches et le monde entier.
    Profitez des vidéos et de la musique que vous aimez, mettez en ligne des contenus originaux, et partagez-les avec vos amis, vos proches et le monde entier.

    LUX listing page 

    Framer Framed event listing 

  • Colonial Toxicity: Rehearsing French Radioactive Architecture and Landscape in the Sahara

    2024

    • Editorial

    Part of:Performing Colonial Toxicity

    Orange tinted photograph of an arid area with some vegetation and small rocks.
    Purple book cover.
    Top edge of book, with pages forming a colour gradient.

    ct-overview.mp4 

    Two people sit next to each other on a stage. Megan speaks into the microphone. At the front, slightly blurred, three people face the stage.
    Red tinted book spread, with eight photographs on each page. The photographs show a small building, a wire fence and small objects in a desert area.
    Red tinted book spread, with three photographs. The photographs show a desert area, a wire fence and two half buried unidentifiable structures.
    Pink tinted book spread, with three photographs. The photographs show cranes. On the right, the crane is lifting materials. Under the photograph,
    Pink tinted book spread, with four photographs. The photographs show a team of people dressed in full coverage white suits arriving at a base consisting of several low buildings.
    Book spread, with two scanned pages with three photographs. They are aerial photographs of one or several desert bases, consisting of several buildings of different sizes.
    A person is reading from a book, holding the microphone. Two people, one on each side, look towards the person with the microphone.
    Book spread, with two scanned pages with seven photographs. The photographs show different buildings and some structures under construction. The word
    Blue tinted book spread, with two photographs, one on each page, and a description for each of them. The photographs show two different feminine-presenting people in traditional dress.
    Blue tinted book spread. On the left page, a photograph shows a group of people sitting cross-legged. Across from them, someone holds a boom mic to the middle of the space. Everyone but the mic operator is wearing a turban. On the right page, there's the first page of an article on Mertoutek, accompanied with the photograph of a masculine-presenting person wearing a turban.
    In a lofty exhibition space, a group of people gather facing a stage. Many are sitting, others stand at the back. Around them, there are large screens, with photographs printed on them. On one of the screens, a video is being projected. On stage, four people sit on chairs.

    Book webshop 

  • radio show “Ditzcourse: Pleasure”

    2024

    • Conversational
    Drawing of a horse, in purple. Around it, there is a heart in different colours and stars in purple. Above the horse,
    Two people are sitting across from each other at a table. They both have microphones in front of them. Behind them there is a bookshelf and a wall with posters, postcards and other decor.
    Ditzcourse is a series of conversations with painter, body artist, writer and perfume collector Sands Murray-Wassink. Ditzcourse as in: ditzy, as in silly, but still making discourse. Thinking out loud. Sharing information. Meaning making in relation. As informal as possible. The series is initiated by Radna Rumping who has been in conversation with Sands for some years. The gift that keeps on giving. How to edit? For each episode of Ditzcourse a guest is invited, and a keyword is suggested. Everyone brings a power object or reference to the table. This time Megan Hoetger is joining, and the keyword is Pleasure. Megan Hoetger is a performance researcher, curator, historian and hard femme. She grew up in California, and now lives in Amsterdam. Sands, Megan and Radna met at the end of 2019 to start a collaboration, commissioned by If I Can’t Dance, that became Gift Science Archive: a database which archives relations and nearly 2,500 studio objects from the art/life practice of Sands. Gift Science Archive is also, as Megan puts it, ‘a fierce feminist demand to centre the messiness of feelings and thoughts and sharing in our processes of meaning production, knowledge transmission and history-making’. They stayed in a continuous exchange. Now they meet at the home of Sands in Amsterdam, where he lives with his partner Robin and cat Duman. In this episode, recorded on May 23th 2024, Sands, Megan and Radna talk about the too personal, vulvic space, anal space, being a feminist killjoy, noticing, a bad behaviour boat, and the pleasure of interpersonal connection. A full transcript and list of references is available here: https://drive.google.com/file/d/1Lw2Wpaa88laQ8p0eCpn9mIBShmcKe5Jv/view
    Ditzcourse is a series of conversations with painter, body artist, writer and perfume collector Sands Murray-Wassink. Ditzcourse as in: ditzy, as in silly, but still making discourse. Thinking out loud. Sharing information. Meaning making in relation. As informal as possible. The series is initiated by Radna Rumping who has been in conversation with Sands for some years. The gift that keeps on giving. How to edit? For each episode of Ditzcourse a guest is invited, and a keyword is suggested. Everyone brings a power object or reference to the table. This time Megan Hoetger is joining, and the keyword is Pleasure. Megan Hoetger is a performance researcher, curator, historian and hard femme. She grew up in California, and now lives in Amsterdam. Sands, Megan and Radna met at the end of 2019 to start a collaboration, commissioned by If I Can’t Dance, that became Gift Science Archive: a database which archives relations and nearly 2,500 studio objects from the art/life practice of Sands. Gift Science Archive is also, as Megan puts it, ‘a fierce feminist demand to centre the messiness of feelings and thoughts and sharing in our processes of meaning production, knowledge transmission and history-making’. They stayed in a continuous exchange. Now they meet at the home of Sands in Amsterdam, where he lives with his partner Robin and cat Duman. In this episode, recorded on May 23th 2024, Sands, Megan and Radna talk about the too personal, vulvic space, anal space, being a feminist killjoy, noticing, a bad behaviour boat, and the pleasure of interpersonal connection. A full transcript and list of references is available here: https://drive.google.com/file/d/1Lw2Wpaa88laQ8p0eCpn9mIBShmcKe5Jv/view

    transcript-ditzcourse-pleasure.pdf [pdf, 179.44 KB] 

    Ja Ja Ja Nee Nee Nee full episode listing 

    giftsciencearchive.net 

    Sands Murray-Wassink artist website 

  • Sonic Feminist Fabulations, episode #0

    2024

    • Production

    Part of:Sonic Feminist Fabulations

    Arrangement of colourful sticky notes, stuck to a white surface. The legible ones read:
    Detail of an arrangement of colourful sticky notes, stuck to a large white sheet of paper that is laid on the floor. On the left, there are some handwritten notes in orange. The legible sticky notes read:
    Decks and other sound equipment have been set in two low tables and on the floor. A person can be seen squatting next to the larger structure, using a laptop. Someone else is sat by the wall, with a laptop to the left and a deck to the right, which they are adjusting.
    In the backgroud, a person dressed in black is squatting in front of a sound deck and a computer, which they are using. They are holding a microphone to their mouth. At the front, a red coil spiral is stuck to the floor. A thin cable is attached to its center with purple table. Throughout the rest of the space, other sound equipment and colourful cables lie on the floor.
    Two people seem to be playing with a sound installation consisting of two coil spirals stuck to the floor. There are cables attached to both spirals. A booklet is open next to one of them. In the background, a person is lying on the floor. They have their elbows on a pillow and are reading a book or a magazine.
    A coil spiral has been stuck to the white floor with a transparent plastic. There are two cables attached to it, one to the centre and the other to the edge. A person can partially be seen sitting next to it. With their left hand they are holding a small yellow heptagon structure against the spiral. With their right hand, they are touching the spiral through the middle of the structure.

    sffepzero04b.mp4 

    Close-up of two coil spirals, stuck to the white floor with a transparent plastic. There are wires coming from each of these spirals, and another wire connecting them both. The arms and a foot of two people can be seen. One person holds a microphone to a magnet, that they have set on one of the spirals. The other person touches the centre of the other spiral.
    A group of people is sitting on the floor or on chairs. They are all facing the same direction. At the front, two people are sitting close together. One of them points to something on the floor, and the other, looking in that direction, holds a microphone to their mouth.
    A person is lying supine on a large black cushion. They have short hair and are wearing a grey sweater. Their hands are covering their ears and their eyes are closed.
    Three people are sitting or lying on black cushions on the floor, next to a white wall. They are sitting in different positions, but are all holding their hands to their ears.
    A red and white spiral that fills up the whole cover of a publication, with its centre slightly to the right. In between the spiral, the title of the publication can be read on the left:
    A booklet lies open, showing two white pages, each with some text and a line illustration, in dark red. On the left page the title reads:
    Round tarot card. In its outer edge, we can read

    Episode no. 0 listen-back with Radio WORM 

    Paula Montecinos Oliva artist website 

    Sonic Feminist Fabulations website 

  • Sonic Feminist Fabulations, episode #1: Decipher Me or I Shall Devour You

    2024

    • Production

    Part of:Sonic Feminist Fabulations

    A hand hovers over a small basket, possibly made from cotton or similar material. The basket is set on a dark table. The hand of someone else, sitting across, rests on the table.
    A number of round tarot cards have been set with no apparent order on top of a dark table. Someone is holding a card with both hands, while the person sitting across from them appears to be touching or picking a card. Next to the cards, two sound decks are partially visible.
    Two hands, belonging to two people sitting across from each other, are touching the same tarot card. Around it, there are other cards.
    A screen on a stand shows a table filmed from above. The arms of two people, sitting across from each other, rest on the table. There is also a sheet of paper with handwritten notes and a stack of round tarot cards. The screen is set in a wood-panelled room with some wall decoration.
    Two people sit across from each other. In between them there is a table with drinks and paper materials. One of them takes a sip from a beer. At the back, there is a screen on a stand, showing a table filmed from above. In this image, someone rests their arms on the table, with their palms facing up. Someone is sitting across from them. There is a sheet of paper and a stack of round tarot cards.
    A person stands behind a DJ booth. They are adjusting one of the decks. Next to the decks there is a light box, which emits a bright white light.
    On top of a light box, there are two coil spirals and a small sound deck with knobs. A hand can be seen holding an object, placed on top of one of the spirals.
    A person stands in a dark DJ booth, adjusting the knobs on a DJ deck. To their right, a bright light shines upwards from a light box that is set next to the deck.

    sffepone02d.mp4 

    A photo of sound equipment and a microphone set on the floor fill up the whole page. On the top left corner, we can see the bottom half of a person squatting down. Beneath them, black text reads:
    Next to a sound deck, two people are looking through a newspaper and smiling. They are in an indoor space after dark, possibly a bar or a cafe.
    Round tarot card. On its outer edge, a

    Break the Algorithm interview 

    Paula Montecinos Oliva artist website 

    Sonic Feminist Fabulations website 

  • The Partisan, the Dissident, and the Postsocialist Contemporary

    2024

    • Writing
    White webpage showing the beginning of

    tptdtpsc00-overview.mp4 

    The artist is standing in front of a nude study. She has short hair and is wearing a wrapped white coat, which is smudged with charcoal.
    Exhibition entrance for
    Detail of a thick piece of fabric to which small patches of other fabric have been attached. These patches have drawings or writing on them.
    Section of a piece of dark fabric with stitches in white, brown and yellow. These stitches appear in different shapes and form patterns.
    A large rectangular piece of fabric has been hung on the wall. There is some texture to it, created with stitching. At the bottom, one small object hangs from the fabric.
    Close up section of a large rectangular piece of fabric hung on the wall. There is some texture to it, created with stitching.
    Two feminine-presenting people, dressed in dark colours and wearing head scarves, stand by a clothesline full with white fabric in a natural setting.
    Lawn with several clotheslines, where white fabric and clothes have been hung. There are several feminine-presenting people taking care of this laundry.

    Full text online 

  • When Technology Was Female: Histories of Construction and Deconstruction, 1917–1989

    2024

    • Editorial

    Part of:When Technology Was Female

    The title
    The front cover reads
    Booklets of yellow and pink pages sit on top of white book jackets, where the title
    Several copies of the book
    A book is held open, showing a spread with yellow pages and four different images with descriptions. In the most visible them, a person uses a compass.
    Several copies of
    A book is held open, showing a spread with pink pages and four different images with descriptions. The photographs show two stills with the protagonists of Věra Chytilová's film

    wtwfhcd-overview.mp4 

    Four people sit around a low table. To their right, another person is behind a podium, towards which the others are looking. A slide with the tile of the book,
    Event room with several rows of chairs full of people. In front of them, four people side around a low table on stage. A slide with two photographs is being projected above them.

    book webshop 

  • When Technology Was Female

    2024

    • Curatorial

    Part of:When Technology Was Female

    A person looks towards a pull down projector, where a film is being projected. The image shows a person in a full orange suit and hat.
    Three people watch a film being projected on a wall of a hallway space. Two of them are sitting down, while the other stands up at the bottom of the stairs.
    A film is being projected on a screen. The image shows a head shot of a masculine-presenting person with a moustache. The image also appears partly reflected on a mirror to the left.
    Dark space. Only the projection of a still from Věra Chytilová's film
    Dark space. Only the projection of a film is visible. The image shows a feminine-presenting person touching the head of another person.
    This is
    This is
    This is
    This is

    wtwf-handout.pdf [pdf, 370 KB] 

    Goethe-Institut event listing 

  • Studies in Character Development

    2024

    • Workshop

    Part of:Zone Collective

    character-studies-preview.mp4 

    Two hands hold a book open. Across the two pages, there is a photograph of objects on top of a black background. A red lego is discernible in the middle. White text appears at the bottom, on both pages.
    Two hands hold a book open. The left page is black, with white text at the bottom. The right page has a blurry image with a diagram, handwritten in black, on top. There is some text, written digitally in black, at the bottom.
    Four people sit around a table, on top of which there is printed material and pens and pencils. There two overhead projectors, one in each side of the table, projecting images to a wall. One of the people is writing on a sheet of paper, whose image is being projected on the wall.
    Handwritten notes, in several colours, have been written in a transparency sheet and left on top of an overhead projector's stage. A hand is partially visible, holding the corner of the sheet.
    A person's hands and arms are partially visible. They are writing, with a purple marker, on a transparency sheet, under a photograph. The sheet is on an overhead projector's stage.
    Several sheets of handwritten notes and printouts with notes have been laid on a table.
    A white sheet of paper with notes and drawings is at the edge of a table. There are pens and pencils around it. The hand of the person sitting in front of the sheet can be see on the bottom right corner.
    Several sheets with handwritten notes, printouts with notes and a photograph have been laid on a table. There are also pens and pencils, three glass and two scissors. Five people are partially visible around the table.
    Several sheets with handwritten notes, printouts with notes and a photograph have been laid on a table. There are also pens and pencils, a glass and a can of beer. Three people are partially visible around the table, one of them has their hand on top of one of the sheets.
    Several sheets with handwritten notes, printouts with notes and a photograph have been laid on a table. There are also pens and pencils, a smartphone and a can of beer. The laps and arms of three people, who are sitting around the table, are visible.

    character-studies-reading-1.mp4 

  • book talk “Against Ageism. A Queer Manifesto”

    2023

    • Conversational
    Grey book cover appears inside a white frame, with small squares with colour at the top. The title
    Two people sit in front of a group of people. The person on the right holds a sheet of paper and a microphone.
    Three people sit in front of a group of people. The name of several artists (Adrian Piper, Hannah Wilke, Carolee Schneemann, Joan Semmel and Senga Nengudi) is being projected in black text above them. The person to the left is holding a microphone.
    A black and white slide, where the following names have been written: Adrian Piper, Hannah Wilke, Carolee Schneemann, Joan Semmel and Senga Nengudi.
    Three people sit in front of a group of people. Above them, an image of several drawings stuck to a pink surface is being projected. The two people to the left look up to the image.
    Art installation consisting of several photo prints of anuses glued to a linen canvas, which has been propped against a white wall. A brown nylon textile with silver stars is draped on the right.
    Screenshot of an Instagram story announcing the launch of Against Ageism, in an event with the author in conversation with Sans Murray-Wassink and Megan Hoetger.

    book webshop 

  • Garden as Material, Map, Metaphor, State of Mind

    2023

    • Writing
    Workspace with large windows. There is a desk, a shelf, a smaller round table and large sheets of paper or photographic print on the floor. On the wall, hang several photographic prints showing the same flower.
    In an exhibition space, a large photographic print with green foliage is suspended from the ceiling. To the left, a photographic print has been placed on top of a plant in a vase. To the front of the print, a long line of flower prints that stretches across the floor is partially visible. On the walls, there are more prints with images and text.
    In an exhibition space, a large photographic print with green foliage is suspended from the ceiling. To its sides, we can find a red chair (right) and a wooden table with some photographic material on top (left). To its front, a long line of flower prints stretches across the floor.
    Four white A4 sheets, with Dutch words handwritten in black ink, are stuck to a wall.
    A white A4 sheet is stuck to a wall.
    A person sits in front of a large photographic print that hangs from the ceiling in the middle of a space. The print partially depicts green foliage. They hold a piece of paper and are gesturing with their right hand. In front, a long line of flower prints stretches across the floor.

    A Rising Flower Makes a Garden 

    The Garden as Material, Map, Metaphor, State of Mind, by Megan Hoetger 

  • Is Isolation a Form of Experience?

    2023

    • Workshop
    A group of people sit cross-legged on the floor. They are facing another person, who is on the spotlight. Behind them, a webpage is being projected on a large screen.
    A person sits on their heels in front of several art supplies. They face the curtains, to the back of the space.
    A person paints a sheet of paper on the floor. Around them, there are several other drawings. A group of people sit crossed-legged around the painter and the drawings, watching.
    A large projected image shows a website page with an image and some text. The image shows a torso with the words

    iife03a-simon-e-van-saarloos.mp4 

    Two hands, wearing white gloves, hold a large white sheet of paper, which reads
    Four people pose behind several colourful sheets of paper with drawings, which are arranged in a circle on the floor. In the middle of the drawings, there is a pillow.

    workshop-handout.pdf [pdf, 1.28 MB] 

    “Contagious & Queer” curatorial essay 

  • Performing Colonial Toxicity

    2023 – 24

    • Exhibitionary

    Part of:Performing Colonial Toxicity

    Screenshot of the exhibition announcement, written in Dutch. The exhibition took place between 8th October 2023 and 14th January 2024.
    Lofty exhibition space with several large screens hanging from the ceiling. The screens have both text and images. The legible titles read:
    Lofty exhibition space with several large screens hanging from the ceiling. The screens have both text and images. The legible titles read:
    Lofty exhibition space with several large screens hanging from the ceiling. The screens have both text and images. Next to two of them, there are vertical monitors playing videos. A video is being projected into another of the screens. The legible titles read:
    Lofty exhibition space with several large screens hanging from the ceiling. One of the screens has both images and documents with redacted information. Next to two of the other screens, there are vertical monitors playing videos. A video is being projected into another of the screens. The legible titles read:
    Lofty exhibition space with several large screens hanging from the ceiling. The screens have both text and images and either a video projection or a monitor. Several people occupy the space, looking at the installations.

    pct01f.mp4 

    Lofty exhibition space with several large screens hanging from the ceiling. A person stands in front of one of the screens, pointing to the left. A group of people sitting in front, look in the direction the person is pointing at.
    Close-up of a large screen. The installation is made from several A4 sheets attached to each other with metal rings. The title in one of them reads
    Close-up of a large screen. The installation is made from several A4 sheets attached to each other with metal rings. There are large scans of newspaper articles printed across these pages.
    Close-up of two large screens. There are photos and documents printed on them. A person studies one of them carefully, with their arms behind their back.
    Lofty exhibition space with several floor-length screens hanging from the ceiling. The screens have both text and images. It is night time and the space is filled with visitors. At the front, someone crouches down as they look at the text closest to the floor.
    Person looks at a large screen, which has images and text printed on.
    In an exhibition space, someone is sat down watching a video being projected on a large screen.
    Lofty exhibition space with several large screens hanging from the ceiling. The screens have both text and images. It is night time and the space is filled with visitors. Two people watch a video being projected on one of the screens.
    Lofty exhibition space with several large screens hanging from the ceiling. The screens have both text and images. It is night time and the space is filled with visitors.
    Profitez des vidéos et de la musique que vous aimez, mettez en ligne des contenus originaux, et partagez-les avec vos amis, vos proches et le monde entier.
    Profitez des vidéos et de la musique que vous aimez, mettez en ligne des contenus originaux, et partagez-les avec vos amis, vos proches et le monde entier.

    pct-exhibition-booklet.pdf [pdf, 1.57 MB] 

    Framer Framed exhibition listing 

    Samia Henni website 

  • Testimony Translation Project

    2023

    • Editorial

    Part of:Performing Colonial Toxicity

    Schematic representation of a tunnel and location of nuclear weapon. The length of the tunnel is marked as approximately 1000 meters.

    ttp03a-overview.mp4 

    Screenshot of several PDF files in a database.
    Screenshot of several PDF files in a database. The thumbnails show documents, some with redacted information.
    Screenshot of several PDF files in a database. The thumbnails show documents, some with redacted information, and handwritten letters or notes.
    Screenshot of a webpage titled
    Screenshot of a webpage titled
    Screenshot of a webpage titled
    Screenshot of a webpage titled

    ttp03b-solange-fernex-algerie-interviews-1992_part-3.mp4 

    Installation consisting of several A4 sheets attached to each other with metal rings. In this section, there is a document with redacted information and some handwritten notes below. The title reads

    solange-fernex-algerie-interviews-1992_part-2.pdf [pdf, 316.34 KB] 

    saliat-ali.pdf [pdf, 152.11 KB] 

    germaine-t.pdf [pdf, 1.65 MB] 

    maryse-m.pdf [pdf, 1.53 MB] 

    Testimony Database 

  • salimbayri.com

    2023

    • Editorial

    sbc05d.mp4 

    Website page, showing three photographs in beige tones, which depict several clay-toned figurines, furniture and indoor spaces. Under the photograph on the right, there is text in small black print.
    Art installation, consisting of a shop window where several clay-toned objects have been put on display.
    A person sits in front of a suspended desk with a laptop computer, which is close to the ceiling of an indoor space. Below, there are several objects laid on a table.
    Seen from a high angle, a large table occupies most of the room. A group of people stand around the table, observing the objects that have been laid on top.
    Partial screenshot of a webpage, showing some text and a photograph of a beige building, with someone holding up a mallet in front.
    A person sits at a table, staring at a laptop and adjusting the knobs on a sound deck.
    Notebook page, with sketches, notes and drawings.
    On the other side of a glass, an image is being projected in one of the walls of a gallery space. Above the image with a drawing of a face, text white reads:

    sbc00-overview.mp4 

    Profitez des vidéos et de la musique que vous aimez, mettez en ligne des contenus originaux, et partagez-les avec vos amis, vos proches et le monde entier.
    Profitez des vidéos et de la musique que vous aimez, mettez en ligne des contenus originaux, et partagez-les avec vos amis, vos proches et le monde entier.
    Profitez des vidéos et de la musique que vous aimez, mettez en ligne des contenus originaux, et partagez-les avec vos amis, vos proches et le monde entier.
    Profitez des vidéos et de la musique que vous aimez, mettez en ligne des contenus originaux, et partagez-les avec vos amis, vos proches et le monde entier.

    Salim Bayri artist website 

  • screening “ROHFILM” (in memory of Birgit Hein)

    2023

    • Presentational
    On top of a white background, with lateral yellow frames, the event description for
    Pink and green poster with a pink rectangle at the centre. A table in green appears inside the rectangle, as well as the event title
    Event description, which appears against a pink background, and event dates, which appear against a green background. The institutional logos appear at the bottom.
    A film still appears in a grey laptop screen. The black and white still reads
    The word APEGA appears inverted and flipped vertically.
    German newspaper page, showing different articles with black-and-white photos.
    Section of a poster. It shows a black and while photograph with two people dressed in black, standing against a white background. On top of the photo, in red, there is a drawing of a clown and some handwritten notes. The event name appears above the photo.
    Black-and-white catalog cover.
    This is
    This is

    more info on Birgit Hein 

  • ZWARTE IBIS

    2023 – 24

    • Production
    A group of people appear to be holding a young feminine-presenting person. Two hands hold her face. Below her face,
    At the bottom of the stairs a
    A child and an adult person sit at a table. In front of them, a camera on a gimbal has been left on the table.
    Group of people. Some are talking to each other.
    Close-up of two people holding hands. A sofa appears in the background.
    Three singing bowls have been set on a surface, below a microphone. Behind them, someone sits on their heels, with their hands on their knees.
    An audience sits in an auditorium. On stage, five people sit in two sofas and a chair, having a discussion. The Melkweg logo is being projected above them.
    A person is behind the decks, which they are adjusting. A black and white keffiyeh lays in front of the decks.
    Several deck chairs face a large outdoor screen, onto which a film is being projected. On screen, a feminine-presenting person rests their face on a door frame.
    A film is being projected in a cinema room. On screen, someone is submerged up to their chest in the ocean. A subtitle reads:
    Profitez des vidéos et de la musique que vous aimez, mettez en ligne des contenus originaux, et partagez-les avec vos amis, vos proches et le monde entier.
    Profitez des vidéos et de la musique que vous aimez, mettez en ligne des contenus originaux, et partagez-les avec vos amis, vos proches et le monde entier.

    musoke-nalwoga-zwarte-ibis-already-and-forthcoming.pdf [pdf, 893.84 KB] 

    ZWARTE IBIS in the making 

    Black Speaks Back homepage 

  • Active Archives: Performing Social Realities in Archival Contexts

    2022

    • Curatorial
    On top of a white background, the following is written in larger black text across the top
    Six people sit on stage around a low table. The first rows of the audience are visible.
    A group of people stand around the stage of an auditorium. Above them, an image of a person wearing earphones is being projected. Beneath it, to the right and to the left, two other projections show a slide with text, which reads
    Two people sit on stage. Above them, the face of a person against a dark blue background is being projected.
    A person sits in front of a laptop computer. Their reflection also appears on a glass in front. The image has an orange hue.
    Instagram story showing an orange light panel and some text.
    Schematic consisting of several small squares and some connecting lines.
    In a dark space, a person stands behind a control desk.
    Two sentences are projected in white on a dark space:
    People take their seats in a dark auditorium.
    Pink spotlights illuminate a dark surface.

    House of World Cultures event listing 

    full program recording 

  • Review “Black Joy/White Fragility”

    2022

    • Writing
    Indoor space with three video projections, where three different feminine-presenting people appear in domestic settings.
    Website page with event listing for Jo Mariama Smith's
    Indoor space with a large round top window and purple walls. In this space, there is an object on a plinth in the middle of the space, a neon sign on the wall, a mirror ball hanging from the ceiling and a small stool.

    mhoetger_black-joy-white-fragility-review-joy-mariama-smith-_theatre-journal-f2022.pdf [pdf, 13.52 MB] 

    Theatre Journal, Volume 74, Number 3, September 2022 

    Black Joy/White Fragility 

  • book talk “Take ‘Em Down: Scattered Monuments and Queer Forgetting”

    2022

    • Conversational
    On top of a pink background and with a blue bar at the bottom,
    In a small indoor space, a group of people either socialise or look at books.
    Seen from above, two people sit next to each other. The person on the left holds a microphone. The person on the right looks at them, while taking a sip from a drink. There are bookshelves behind them.
    Two people sit next to each other. The person on the left holds a microphone. The person on the right is laughing and looking at the other person. There are bookshelves behind them.
    Two people sit in front of a group of people. The person on the left holds a microphone. There are bookshelves behind them.
    Graphic announcement for
    Graphic announcement for

    book webshop 

  • Film Distribution and 1968: Radical Aspirations

    2022

    • Writing
    A person runs through an empty street. The trees are bare and the sky is grey. They are holding a large red flag. The title of the book,
    1986 appears in a vertical line, occupying the middle of the book cover from the top to the bottom.
    Social media post. Under a text description, an image shows the photograph of a couple, who are kissing. The image appears inside a dark grey square. Above the photograph,

    hoetger_films-distribution-and-1968.pdf [pdf, 37.89 KB] 

    Discourse homepage 

    Celluloid Revolt book webshop 

    1968 and Global Cinema book webshop 

  • giftsciencearchive.net

    2022

    • Editorial

    Part of:Gift Science Archive

    Homepage. *(link: https://giftsciencearchive.net/ text: giftsciencearchive.net target: _blank)*. Design by Kommerz.

    gsa.net-comm-animation.mp4 

    Preliminary sketch of cataloging elements and layout. *Gift Science Archive*, January 2020. Drawing by Megan Hoetger.
    Double page spread. *Gift Science Archive* catalog entry in (link: https://www.rijksakademie.nl/en/open-archive?attachment_id=ce2ac4cf-46be-4aee-acb7-66a43f5992fc&filters%5Bfilter_tag_ids%5D%5B%5D=d9af379e-359d-4b6c-ab0c-d5156d02ac95&filters%5Btag_list_option%5D=selected text: *We Had Plans: A book published on the occasion of the 150th year of the Rijksakademie van beeldende kunsten, which happened to coincide with a global pandemic during which resident artists continued to work collaboratively as well as individually on their respective practices, whilst also navigating what could be called expanded practice* target: _blank) (Amsterdam: Rijksakademie, 2021). Left:

    https://www.giftsciencearchive.net 

  • Honouring Sands’s Horsepower

    2022

    • Writing

    Part of:Gift Science Archive

    Screenshot.
    Screenshot.
    Screenshot.

    hshp-scroll-through.mp4 

    hoetger_honouring-sands-s-horsepower.pdf [pdf, 1.56 MB] 

    giftsciencearchive.net/about 

  • Learning from “Gift Science Archive”

    2022

    • Writing
    In white, the words
    Two paragraphs of black text are aligned to the left of the page, starting near the top. The background is dark salmon.
    Table of contents showing as main sections of the book:
    Second table of contents page, showing as main sections of the book:
    Several colourful sheets of paper with handwritten notes have been loosely stacked. A digital page with text and images has been superimposed on the image. On the bottom right,

    hoetger_learning-from-gift-science-archive.pdf [pdf, 114.62 KB] 

    nGbK event series listing 

    full PDF for download 

    nGbK book webshop 

  • Performances of Cinema and Other Infrastructural Musings

    2022

    • Presentational
    Black text on white background. The title
    Inside a church with stained glass windows, a person stands in one of the aisles, with some text being projected behind them. Three rows of chairs, broken into two sections, are nearly full. The people look towards the presenter. In an aisle in between the chairs, there is a table with a projector, facing the presenter.
    A large white slide with black text that reads
    In a blurry image, four people lie down in two levels of sofa-like seating. The face of a fifth person is visible on the bottom left corner.
    Light streaks on top of black background.
    Two people sit behind a projection booth, seemingly controlling the projector. In the background, people stand up on different levels, looking in the direction the projector is facing.
    A person sits at a table, with an open laptop. They are holding a microphone to their mouth. Behind them, a large slide is being projected on the wall. The slide reads
    Two people sit on wooden chairs, facing an audience. Another person, stands next to a member of the audience, who is holding a microphone and gesturing with their hand.
    In a church, several people stand around a wooden table, with books on top. They are either holding books and paper materials, or looking at them. Behind them, a group of people is spread around the church.

    Oude Kerk open archive 

  • Reassembling East German Nightlife: Scores for Curating from Elusive Archives

    2022

    • Writing
    Spread around the page, several words in different positions and rotations have been written in white, often with the end of the word more faded than the beginning. These words are:
    A book lies open. Across the two pages, several words in different positions and rotations have been written in black. Extra text, in a smaller font, appears underneath each word. These are words like:
    A book lies open. On the top page,

    hoetger-kong_reassembling-east-german-nightlife.pdf [pdf, 2.49 MB] 

  • Collectivities Otherwise: Party Lines, Counterpropositions, and (Post)Socialist Spaces

    2022

    • Conversational

    Part of:When Technology Was Female

    Nearly full lecture room. On stage, a person stands behind a podium. There is an image being projected on stage and in another screen, which is closer to the middle of the room. The image shows a feminine-presenting person with short hair in black-and-white.
    Nearly full lecture room. On stage, a person stands behind a podium. There is slide being projected behind them. It has a text, a painting and a photograph in black-and-white.
    A person stands behind a podium on stage. They looks towards another person, who is off-stage to their right. The person off-stage looks as if they are speaking.
    Four people sit on stage, around a low round table. A slide with a photograph and a short text is being projected behind them. The person to the left holds a microphone.
    Five people sit on stage, around a low round table. The person to the right holds a microphone and is gesturing with their left hand.
    Profitez des vidéos et de la musique que vous aimez, mettez en ligne des contenus originaux, et partagez-les avec vos amis, vos proches et le monde entier.
    Profitez des vidéos et de la musique que vous aimez, mettez en ligne des contenus originaux, et partagez-les avec vos amis, vos proches et le monde entier.

    spui25 event listing 

  • Socialist Collectivity and the Aesthetics of (Dys)functionality

    2022

    • Workshop

    Part of:When Technology Was Female

    In a university room, four people sit around tables set up in a U shape. At the front, a person is standing up or slightly resting against a table. A slide with two black and white photographs is being projected behind them.
    A laptop screen is partially visible, with several photo files open on the desktop. Behind it, five people sit around tables in a university room.
    Two text print outs have been set on a table. A thick yellow highlighter lays on top. In the background, five other people sit around other tables, looking in the same direction.
    Open laptop computer, showing a desktop with several open image files. Two text printouts are laying next to the computer.
    Website section showing three images with descriptions.
    Website section showing some text and two images, which appear inside blue blocks.
    Website section showing eighteen photographs, mostly in black-and-white, inside blue blocks.
    Website section showing two images and a text. Part of the text and the two images appear inside a green block.
    Website section showing nineteen photographs, which appear inside green blocks.
    Listen to Altmann Talk Me Through-ep01 by Mhoetger #np on #SoundCloud
    Listen to Altmann Talk Me Through-ep01 by Mhoetger #np on #SoundCloud
    Listen to Altmann Talk Me Through-ep02 by Mhoetger #np on #SoundCloud
    Listen to Altmann Talk Me Through-ep02 by Mhoetger #np on #SoundCloud
    Listen to Altmann Talk Me Through-ep03 by Mhoetger #np on #SoundCloud
    Listen to Altmann Talk Me Through-ep03 by Mhoetger #np on #SoundCloud

    makarenko_his-life-and-work.pdf [pdf, 12.65 MB] 

    popper_platos-political-programme-v-vi.pdf [pdf, 7.88 MB] 

    lutz-gentsch-passages.pdf [pdf, 115.43 KB] 

    Three Seminars from ‘When Technology Was Female’ 

  • Collective Annotation Sessions

    2022 – ongoing

    • Workshop

    Part of:Zone Collective

    Two people sit in front of a projection and a flip chart easel. On a table, in front of them, there is an overhead projector and several sheets of paper and other printed material.
    Two people are sitting, facing the same direction. Behind them, there is wall projection of a red block with the words
    Three people are next to a table. Two are sitting and one is standing up. On the table, there are sheets of paper with handwritten notes and an overhead projector.
    A person stands in front of a projection of a black-and-white diagram.
    A white sheet of paper with notes, handwritten in different colours, has been stuck to the wall with two thin strips of black tape.
    A person is leaning over an overhead projector. They are making notes on the sheet on the projector's stage. The image is being projected behind him. Next to the projection, a white sheet of paper with notes, handwritten in different colours, has been stuck to the wall with two thin strips of black tape.
    At the edge of a long table, on top of which there are several sheets of paper, a person is leaning over an overhead projector. They are making notes on the sheet on the projector's stage. Next to them, someone stands in front of a flip chart easel.

    “Şimdicilik”ten şimdinin siyasetine doğru 

    Beyoğlu’nun yeni failleri 

  • Notes from the Table. A Not-Yet Manifesto

    2022

    • Writing

    Part of:Zone Collective

    Scans of a list and of a diagram appear next to each other. There are blocks of transparent yellow across the top of the list and bottom of the diagram. The words
    Black-and-white diagram, with a block which reads
    Black and purple diagram.
    Three images have been overlaid. At the back, a diagram has its blocks empty. At the front, two images with notes in blue and red have been superimposed.
    Close-up of diagram, where the words
    Close-up of diagram, where the words

    Notes from the Table. A Not-Yet Manifesto 

  • Zoning Play Complex

    2022

    • Workshop

    Part of:Zone Collective

    Six people sit around a rectangular table. There is a spotlight shining on the table; the space around it is in the dark.
    Kirila Cvetkovska (left) and Megan Hoetger (right). Workshop documentation. Zone Collective (Kirila Cvetkovska and Megan Hoetger), *Zoning Play Complex* character workshop, 5 November 2022. Realized within the frame of *The Hauntologists*, an exhibition and public program curated by Julia Morandeira as part of the 2021–22 Fellowship in Situated Practice at BAK — basis
voor actuele kunst, Utrecht, Netherlands. Photo: Tom Janssen, courtesy of BAK.
    Julia Croft (left) and Yeukayishe Musariri (right). Workshop documentation. Zone Collective (Kirila Cvetkovska and Megan Hoetger), *Zoning Play Complex* character workshop, 5 November 2022. Realized within the frame of *The Hauntologists*, an exhibition and public program curated by Julia Morandeira as part of the 2021–22 Fellowship in Situated Practice at BAK — basis
voor actuele kunst, Utrecht, Netherlands. Photo: Tom Janssen, courtesy of BAK.
    Antonella Fittipaldi. Workshop documentation. Zone Collective (Kirila Cvetkovska and Megan Hoetger), *Zoning Play Complex* character workshop, 5 November 2022. Realized within the frame of *The Hauntologists*, an exhibition and public program curated by Julia Morandeira as part of the 2021–22 Fellowship in Situated Practice at BAK — basis
voor actuele kunst, Utrecht, Netherlands. Photo: Tom Janssen, courtesy of BAK.
    Elioa Steffen. Workshop documentation. Zone Collective (Kirila Cvetkovska and Megan Hoetger), *Zoning Play Complex* character workshop, 5 November 2022. Realized within the frame of *The Hauntologists*, an exhibition and public program curated by Julia Morandeira as part of the 2021–22 Fellowship in Situated Practice at BAK — basis
voor actuele kunst, Utrecht, Netherlands. Photo: Tom Janssen, courtesy of BAK.
    Workshop documentation. Zone Collective (Kirila Cvetkovska and Megan Hoetger), *Zoning Play Complex* character workshop, 5 November 2022. Realized within the frame of *The Hauntologists*, an exhibition and public program curated by Julia Morandeira as part of the 2021–22 Fellowship in Situated Practice at BAK — basis
voor actuele kunst, Utrecht, Netherlands. Photo: Tom Janssen, courtesy of BAK.
    Workshop documentation. Zone Collective (Kirila Cvetkovska and Megan Hoetger), *Zoning Play Complex* character workshop, 5 November 2022. Realized within the frame of *The Hauntologists*, an exhibition and public program curated by Julia Morandeira as part of the 2021–22 Fellowship in Situated Practice at BAK — basis
voor actuele kunst, Utrecht, Netherlands. Photo: Tom Janssen, courtesy of BAK.
    Workshop documentation. Zone Collective (Kirila Cvetkovska and Megan Hoetger), *Zoning Play Complex* character workshop, 5 November 2022. Realized within the frame of *The Hauntologists*, an exhibition and public program curated by Julia Morandeira as part of the 2021–22 Fellowship in Situated Practice at BAK — basis
voor actuele kunst, Utrecht, Netherlands. Photo: Tom Janssen, courtesy of BAK.
    Workshop documentation. Zone Collective (Kirila Cvetkovska and Megan Hoetger), *Zoning Play Complex* character workshop, 5 November 2022. Realized within the frame of *The Hauntologists*, an exhibition and public program curated by Julia Morandeira as part of the 2021–22 Fellowship in Situated Practice at BAK — basis
voor actuele kunst, Utrecht, Netherlands. Photo: Tom Janssen, courtesy of BAK.
    Workshop documentation. Zone Collective (Kirila Cvetkovska and Megan Hoetger), *Zoning Play Complex* character workshop, 5 November 2022. Realized within the frame of *The Hauntologists*, an exhibition and public program curated by Julia Morandeira as part of the 2021–22 Fellowship in Situated Practice at BAK — basis
voor actuele kunst, Utrecht, Netherlands. Photo: Tom Janssen, courtesy of BAK.

    zpc-briefing.pdf [pdf, 71.39 KB] 

    zpc-menu.pdf [pdf, 50.88 KB] 

    zpc-placemat-position1.pdf [pdf, 22.07 KB] 

  • Archiving Club Cultures from Late Socialism through the Era of ‘Social Distancing’

    2021 – 22

    • Workshop
    Workshop title page. The Academy course booklet, 2021.
    View of Kosmos cinema, Berlin, 2021. Opened to the public in 1962, Kosmos was one of the most modern film theatres in the GDR, serving as an important prestige project of the socialist state. Photo: Laura Fiorio.
    Along the sidewalk in Prenzlauer Berg, Berlin, 2021. The Gethsemanekirche – a central meeting point in the 1980s for opponents of the East German regime, and a crucial site of the demonstrations of the “Peaceful Revolution” in the autumn of 1989 that resulted in the fall of the Berlin Wall. Photo: Laura Fiorio.
    Inside the courtyard of the Kulturbrauerei, Berlin, 2021. The Museum in der Kulturbrauerei focuses exclusively on the history of former East Germany and features the permanent exhibition (link: https://www.hdg.de/en/museum-in-der-kulturbrauerei/exhibitions/everyday-life-in-the-gdr text:
    Exhibition installation view. *Hosen haben Röcke an. Künstlerinnengruppe Erfurt 1984-1994* [*(link: https://archiv.ngbk.de/en/projekte/hosen-haben-rocke-kunstlerinnengruppe-erfurt-1984-1994/ text: Pants Wear Skirts: Erfurt Women Artists' Group, 1984-1994 target: _blank)*], neue Gesellschaft für bildende Kunst (nGbK), Berlin, 27 November 2021 - 30 January 2022. Photo: Ruppert Bohle.
    Visit to the (link: https://www.jugendkulturen.de/ text: Archiv der Jugendkulturen target: _blank)[Archive of Youth Cultures], Berlin, 2022. An introduction hosted by workshop participant Daniel Schneider to the extensive collection of zines, leaflets, posters, pins and other printed matter materials from across punk, hip hop, techno genres. Photo: Megan Hoetger.
    Detail. Pablo Santacana López and Daniel Schneider, *Mapping disco comradeship in East Berlin: which places, whose voices, what traces?*, 2021.
    Screenshot. Aikaterini Gegisian, *Dust Covers have a Score*, 2021.
    Screenshot. Sabine Marie, *Heard and Unheard*, 2021.
    Detail. Sterre Barentsen, *A Conversation about Trees in East Berlin*, 2021.

    archiving-club-cultures_-curriculum-plan.pdf [pdf, 55.5 KB] 

    Susanne Altmann interview 

    Scoring Elusive Archives 

  • Art/Obscenity/Underground Cinema in West Germany, 1968–1973: Circulating through the Debates

    2021

    • Writing
    Book cover. *In and Out of View: Art and the Dynamics of Circulation, Suppression, and Censorship*, edited by Catha Paquette, Karen Kleinfelder, and Christopher Miles (London: Bloomsbury, 2021).
    Still. Kurt Kren, *23/69 Underground Explosion*, 1969. 16mm film; color; sound; 5:00 minutes. Courtesy of sixpackfilm, Vienna.
    Megan Hoetger,

    art_obscentiy-color-plate.pdf [pdf, 1.26 MB] 

    hoetger_art_obscenity_underground-cinema-in-west-germany-1968-72.pdf [pdf, 4.02 MB] 

    In and Out of View 

  • Black Revelry: In Honor of ‘The Sugar Shack’

    2021

    • Editorial

    Part of:Black Revelry

    Album cover. *Black Revelry: In Honor of 'The Sugar Shack'*, edited by Carter with contributions from Taylor Renée Aldridge; Samiya Bashir; La Marr Jurelle Bruce; Derrais Carter; DJ Lynnée Denise, William H. Mosley, III, Zoé Samudzi, S*an D. Henry-Smith, Melanie Stevens and Phillip B. Williams. Design by Karoline Świeżyński. Photo: Temra Pavlović, courtesy of If I Can't Dance, Amsterdam.
    Album interior. *Black Revelry: In Honor of 'The Sugar Shack'*, edited by Carter with contributions from Taylor Renée Aldridge; Samiya Bashir; La Marr Jurelle Bruce; Derrais Carter; DJ Lynnée Denise, William H. Mosley, III, Zoé Samudzi, S*an D. Henry-Smith, Melanie Stevens and Phillip B. Williams. Design by Karoline Świeżyński. Photo: Temra Pavlović, courtesy of If I Can't Dance, Amsterdam.

    carter-cali-memory-intro-excerpt.mp3 

    Layout spread. Derrais Carter,
    S\*an D. Henry-Smith, *In the hours before First Service* (left) and DJ Lynée Denise,
    Insert materials. *Black Revelry: In Honor of 'The Sugar Shack'*, edited by Carter with contributions from Taylor Renée Aldridge; Samiya Bashir; La Marr Jurelle Bruce; Derrais Carter; DJ Lynnée Denise, William H. Mosley, III, Zoé Samudzi, S*an D. Henry-Smith, Melanie Stevens and Phillip B. Williams. Design by Karoline Świeżyński. Photo: Megan Hoetger.
    Event announcement. *Black Revelry Quiet Storm* radio marathon and book launch. *Black Revelry: In Honor of 'The Sugar Shack'*, edited by Carter with contributions from Taylor Renée Aldridge; Samiya Bashir; La Marr Jurelle Bruce; Derrais Carter; DJ Lynnée Denise, William H. Mosley, III, Zoé Samudzi, S*an D. Henry-Smith, Melanie Stevens and Phillip B. Williams. Design by Karoline Świeżyński.
    Installation view. Derrais Carter, *What We Do Language Can't Touch*, Sandberg Institute, Amsterdam, November 2021. Photo: Konstantin Guz, courtesy of If I Can't Dance, Amsterdam.
    S\*an D. Henry-Smith (left) and Derrais Carter (right). Book launch. *Black Revelry: In Honor of 'The Sugar Shack'*, edited by Carter with contributions from Taylor Renée Aldridge; Samiya Bashir; La Marr Jurelle Bruce; Derrais Carter; DJ Lynnée Denise, William H. Mosley, III, Zoé Samudzi, S\*an D. Henry-Smith, Melanie Stevens and Phillip B. Williams. Design by Karoline Świeżyński. Photo: Konstantin Guz, courtesy of If I Can't Dance, Amsterdam.

    book webshop 

    Late Night DJ playlist by DJ Lynée Denise 

    black poesis/radical composition 

  • COLLABORATION. How can we work together?

    2021

    • Conversational

    Part of:Gift Science Archive

    Event listing. Sands Murray Wassink with Amalia Calderón, Megan Hoetger, and Radna Rumping, *COLLABORATION. How can we work together?*, Rijksakademie, Amsterdam, June 2021.
    Roundtable discussion documentation. Sands Murray Wassink with Amalia Calderón, Megan Hoetger, and Radna Rumping, *COLLABORATION. How can we work together?*, Rijksakademie, Amsterdam, June 2021. Photo: Ratu R. Saraswati.
    Roundtable discussion documentation. Sands Murray Wassink with Amalia Calderón, Megan Hoetger, and Radna Rumping, *COLLABORATION. How can we work together?*, Rijksakademie, Amsterdam, June 2021. Photo: Ratu R. Saraswati.
    Roundtable discussion documentation. Sands Murray Wassink with Amalia Calderón, Megan Hoetger, and Radna Rumping, *COLLABORATION. How can we work together?*, Rijksakademie, Amsterdam, June 2021. Photo: Ratu R. Saraswati.
    This is
    This is

    Sands Murray-Wassink artist website 

    Rijksakademie Open Archive 

  • In Good Company (Horsepower): Materials from the ‘Gift Science Archive’, 1993–present

    2021

    • Exhibitionary

    Part of:Gift Science Archive

    Exhibition installation image. Sands Murray-Wassink, *In Good Company (Horsepower): Materials from the Gift Science Archive, 1993-present*, mistral, Amsterdam, March - May 2021. Photo: Charlott Markus, courtesy of If I Can't Dance and mistral, Amsterdam.
    Exhibition installation image. Sands Murray-Wassink, *In Good Company (Horsepower): Materials from the Gift Science Archive, 1993-present*, mistral, Amsterdam, March - May 2021. Photo: Charlott Markus, courtesy of If I Can't Dance and mistral, Amsterdam.
    Visitor documentation. Sands Murray-Wassink, *In Good Company (Horsepower): Materials from the Gift Science Archive, 1993-present*, mistral, Amsterdam, March - May 2021. Photo: Charlott Markus, courtesy of If I Can't Dance and mistral, Amsterdam.
    Exhibition installation image. Sands Murray-Wassink, *In Good Company (Horsepower): Materials from the Gift Science Archive, 1993-present*, mistral, Amsterdam, March - May 2021. Photo: Charlott Markus, courtesy of If I Can't Dance and mistral, Amsterdam.
    Exhibition installation image. Sands Murray-Wassink, *In Good Company (Horsepower): Materials from the Gift Science Archive, 1993-present*, mistral, Amsterdam, March - May 2021. Photo: Charlott Markus, courtesy of If I Can't Dance and mistral, Amsterdam.
    Exhibition installation image. Sands Murray-Wassink, *In Good Company (Horsepower): Materials from the Gift Science Archive, 1993-present*, mistral, Amsterdam, March - May 2021. Photo: Charlott Markus, courtesy of If I Can't Dance and mistral, Amsterdam.
    Exhibition installation image. Sands Murray-Wassink, *In Good Company (Horsepower): Materials from the Gift Science Archive, 1993-present*, mistral, Amsterdam, March - May 2021. Photo: Charlott Markus, courtesy of If I Can't Dance and mistral, Amsterdam.
    Visitor documentation. Sands Murray-Wassink, *In Good Company (Horsepower): Materials from the Gift Science Archive, 1993-present*, mistral, Amsterdam, March - May 2021. Photo: Megan Hoetger.
    Visitor documentation. Sands Murray-Wassink, *In Good Company (Horsepower): Materials from the Gift Science Archive, 1993-present*, mistral, Amsterdam, March - May 2021. Photo: Megan Hoetger.
    Visitor documentation. Sands Murray-Wassink, *In Good Company (Horsepower): Materials from the Gift Science Archive, 1993-present*, mistral, Amsterdam, March - May 2021. Photo: Megan Hoetger.
    Visitor documentation. Sands Murray-Wassink, *In Good Company (Horsepower): Materials from the Gift Science Archive, 1993-present*, mistral, Amsterdam, March - May 2021. Photo: Megan Hoetger.
    Visitor documentation. Sands Murray-Wassink, *In Good Company (Horsepower): Materials from the Gift Science Archive, 1993-present*, mistral, Amsterdam, March - May 2021. Photo: Radna Rumping.
    Visitor documentation. Sands Murray-Wassink, *In Good Company (Horsepower): Materials from the Gift Science Archive, 1993-present*, mistral, Amsterdam, March - May 2021. Photo: Megan Hoetger.
    This is
    This is

    in-good-company-bulletin.pdf [pdf, 759.32 KB] 

    Sands Murray-Wassink artist website 

  • Without You I’m Nothing (Blue)

    2021

    • Exhibitionary

    Part of:Gift Science Archive

    Install documentation. Sands Murray-Wassink, *Without You I'm Nothing (Blue*), Rijksakademie Open Studios, Amsterdam, June 2021. Photo: Frédérique Bergholtz.
    Exhibition installation image. Sands Murray-Wassink, *Without You I'm Nothing (Blue*), Rijksakademie Open Studios, Amsterdam, June 2021. Photo: Tomek Dersu Aaron, courtesy of the Rijksakademie van beeldende kunsten, Amsterdam.
    Exhibition installation image. Sands Murray-Wassink, *Without You I'm Nothing (Blue*), Rijksakademie Open Studios, Amsterdam, June 2021. Photo: Tomek Dersu Aaron, courtesy of the Rijksakademie van beeldende kunsten, Amsterdam.
    Exhibition installation image. Sands Murray-Wassink, *Without You I'm Nothing (Blue*), Rijksakademie Open Studios, Amsterdam, June 2021. Photo: Tomek Dersu Aaron, courtesy of the Rijksakademie van beeldende kunsten, Amsterdam.
    Exhibition installation image. Sands Murray-Wassink, *Without You I'm Nothing (Blue*), Rijksakademie Open Studios, Amsterdam, June 2021. Photo: Tomek Dersu Aaron, courtesy of the Rijksakademie van beeldende kunsten, Amsterdam.
    Exhibition installation image. Sands Murray-Wassink, *Without You I'm Nothing (Blue*), Rijksakademie Open Studios, Amsterdam, June 2021. Photo: Tomek Dersu Aaron, courtesy of the Rijksakademie van beeldende kunsten, Amsterdam.
    Exhibition installation image. Sands Murray-Wassink, *Without You I'm Nothing (Blue*), Rijksakademie Open Studios, Amsterdam, June 2021. Photo: Tomek Dersu Aaron, courtesy of the Rijksakademie van beeldende kunsten, Amsterdam.
    Performance documentation. Sands Murray-Wassink with Megan Hoetger and Radna Rumping, *Backstage with Gift Science Archive*, Rijksakademie Open Studios, Amsterdam, June 2021. Photo: Sander van Wettum, courtesy of the Rijksakademie van beeldende kunsten, Amsterdam.

    without-you-i-m-nothing-blue-list-of-works.pdf [pdf, 202.53 KB] 

    Sands Murray-Wassink artist website 

  • How We Behave / An Archive of Radical Practice

    2021 – 23

    • Curatorial
    Homepage icon. Grant Watson with Anik Fournier and Megan Hoetger, *How We Behave / An Archive of Radical Practice*, (link: https://ificantdance.studio/archived-website/How-We-Behave/An-archive-of-radical-practice.html text: www.ificantdance.studio target: _blank), 2021-2023.
    Interview materials database. Grant Watson with Anik Fournier and Megan Hoetger, *How We Behave / An Archive of Radical Practice*, (link: https://ificantdance.studio/archived-website/How-We-Behave/An-archive-of-radical-practice.html text: www.ificantdance.studio target: _blank), 2021-2023.
    *COME TOGETHER Girlfriend*, cropped image taken from Facebook (full image by Mario Testino), supplementary database material. Grant Watson with Anik Fournier and Megan Hoetger, *How We Behave / An Archive of Radical Practice*, (link: https://ificantdance.studio/archived-website/How-We-Behave/An-archive-of-radical-practice.html text: www.ificantdance.studio target: _blank), 2021-2023.
    Interview materials database. Grant Watson with Anik Fournier and Megan Hoetger, *How We Behave / An Archive of Radical Practice*, (link: https://ificantdance.studio/archived-website/How-We-Behave/An-archive-of-radical-practice.html text: www.ificantdance.studio target: _blank), 2021-2023.
    CuNT pamphlet designed by Joy Mariama Smith, 2020, supplementary database material. Grant Watson with Anik Fournier and Megan Hoetger, *How We Behave / An Archive of Radical Practice*, (link: https://ificantdance.studio/archived-website/How-We-Behave/An-archive-of-radical-practice.html text: www.ificantdance.studio target: _blank), 2021-2023.
    Album cover. Care of the Cow, *Dogs' Ears are Stupid*, 1983, supplementary database material. Grant Watson with Anik Fournier and Megan Hoetger, *How We Behave / An Archive of Radical Practice*, (link: https://ificantdance.studio/archived-website/How-We-Behave/An-archive-of-radical-practice.html text: www.ificantdance.studio target: _blank), 2021-2023.
    Interview materials database. Grant Watson with Anik Fournier and Megan Hoetger, *How We Behave / An Archive of Radical Practice*, (link: https://ificantdance.studio/archived-website/How-We-Behave/An-archive-of-radical-practice.html text: www.ificantdance.studio target: _blank), 2021-2023.
    Exhibition installation view. Grant Watson, *How We Behave / An Archive of Radical Practice*, IHLIA — LGBTI Heritage at Oba Public Library, Amsterdam, December 2023 - February 2024. Photo: Maarten Nauw, courtesy of If I Can't Dance, Amsterdam.
    Exhibition installation view. Grant Watson, *How We Behave / An Archive of Radical Practice*, IHLIA — LGBTI Heritage at Oba Public Library, Amsterdam, December 2023 - February 2024. Photo: Maarten Nauw, courtesy of If I Can't Dance, Amsterdam.
    Exhibition installation view. Grant Watson, *How We Behave / An Archive of Radical Practice*, IHLIA — LGBTI Heritage at Oba Public Library, Amsterdam, December 2023 - February 2024. Photo: Maarten Nauw, courtesy of If I Can't Dance, Amsterdam.
    Exhibition installation view. Grant Watson, *How We Behave / An Archive of Radical Practice*, IHLIA — LGBTI Heritage at Oba Public Library, Amsterdam, December 2023 - February 2024. Photo: Maarten Nauw, courtesy of If I Can't Dance, Amsterdam.
    Left to right: Joy Mariama Smith, Szymon Adamczak, Sher Doruff. Public reading documentation. Grant Watson, *How We Behave / An Archive of Radical Practice*, If I Can't Dance, Amsterdam, December 2023. Photo: Maarten Nauw, courtesy of If I Can't Dance, Amsterdam.
    Szymon Adamczak (left) and Sher Doruff (right). Public reading documentation. Grant Watson, *How We Behave / An Archive of Radical Practice*, If I Can't Dance, Amsterdam, December 2023. Photo: Maarten Nauw, courtesy of If I Can't Dance, Amsterdam.

    hwb-suely-rolnik-script.pdf [pdf, 32.06 KB] 

    hwb-ramallah-transcript.pdf [pdf, 527.08 KB] 

    How We Behave studio project 

    Grant Watson website 

  • Lively Archives: Activating Performance Archives and the Performativity of Archival Methods

    2021

    • Workshop
    Workshop documentation. Megan Hoetger with Anik Fournier, *Lively Archives: Activating Performance Archives and the Performativity of Archival Methods*, Centre Pompidou, Paris, November 2021.
    Workshop documentation. Megan Hoetger with Anik Fournier, *Lively Archives: Activating Performance Archives and the Performativity of Archival Methods*, Centre Pompidou, Paris, November 2021.
    Workshop documentation. Megan Hoetger with Anik Fournier, *Lively Archives: Activating Performance Archives and the Performativity of Archival Methods*, Centre Pompidou, Paris, November 2021.

    lively-archives-slides.pdf [pdf, 7.5 MB] 

    cultures-d-avenir-full-program.pdf [pdf, 915.99 KB] 

  • The Actress

    2021 – 23

    • Production
    Installation view. Aimée Zito Lema and Becket MWN, *The Actress*, Grazer Kunstverein, Graz, September - December 2021. Photo: Megan Hoetger.
    Installation view. Aimée Zito Lema and Becket MWN, *The Actress*, Grazer Kunstverein, Graz, September - December 2021. Photo: Megan Hoetger.

    teaser-the-actress-04.mp4 

    teaser-the-actress-03.mp4 

    Installation view. Aimée Zito Lema and Becket MWN, *The Actress*, Grazer Kunstverein, Graz, September - December 2021. Photo: Megan Hoetger.
    Installation view. Aimée Zito Lema and Becket MWN, *The Actress*, Grazer Kunstverein, Graz, September - December 2021. Photo: Christine Winkler, courtesy of Grazer Kunstverein.
    Installation view. Aimée Zito Lema and Becket MWN, *The Actress*, Grazer Kunstverein, Graz, September - December 2021. Photo: Christine Winkler, courtesy of Grazer Kunstverein.
    Installation view. Aimée Zito Lema and Becket MWN, *The Actress*, Grazer Kunstverein, Graz, September - December 2021. Photo: Christine Winkler, courtesy of Grazer Kunstverein.
    Installation view. Aimée Zito Lema and Becket MWN, *The Actress*, Grazer Kunstverein, Graz, September - December 2021. Photo: Megan Hoetger.

    ta-animation.mp4 

    Chapter homepage. Aimée Zito Lema and Becket MWN, *The Actress(es)*, (link: https://ificantdance.studio/becket-mwn-and-aim%C3%A9e-zito-lema/intermediary text: www.ificantdance.studio target: _blank).

    gkv_aimee_zito_lema_becket_mwn_hand-out_a4_p_file_en.pdf [pdf, 1.96 MB] 

    the-actresses_curatorial-note.pdf [pdf, 66.37 KB] 

    the-actress_becket-essay_aimee-notations.pdf [pdf, 2.27 MB] 

    the-actress_interview-with-camila_becket-notations.pdf [pdf, 3.63 MB] 

    Grazer Kunstverein  

    The Actress(es) studio page 

  • Cinema for Houseboats

    2021

    • Curatorial

    Part of:Zone Collective

    *Cinema for Houseboats I: Vlado Kristl* public program (October 2021). Zone Collective (Kirila Cvetkovska and Megan Hoetger), *Shadow Zones: Experimental Cinema History in Yugoslavia; or, a Cinema and a History Made and Unmade by Maps*, When Site Lost the Plot, Amsterdam, July - October 2021. Photo: Aram Lee, courtesy of When Site Lost the Plot.
    Screenshot. Vlado Kristl, *Don Kihot*, 1961. Animation; color; sound; 10:00 minutes. Courtesy of Filmmuseum München/Zagreb Film.
    Screenshot. Vlado Kristl, *Don Kihot*, 1961. Animation; color; sound; 10:00 minutes. Courtesy of Filmmuseum München/Zagreb Film.
    *Cinema for Houseboats I: Vlado Kristl* public program (October 2021). Zone Collective (Kirila Cvetkovska and Megan Hoetger), *Shadow Zones: Experimental Cinema History in Yugoslavia; or, a Cinema and a History Made and Unmade by Maps*, When Site Lost the Plot, Amsterdam, July - October 2021. Photo: Aram Lee, courtesy of When Site Lost the Plot.
    *Cinema for Houseboats I: Vlado Kristl* public program (October 2021). Zone Collective (Kirila Cvetkovska and Megan Hoetger), *Shadow Zones: Experimental Cinema History in Yugoslavia; or, a Cinema and a History Made and Unmade by Maps*, When Site Lost the Plot, Amsterdam, July - October 2021. Photo: Aram Lee, courtesy of When Site Lost the Plot.
    Screenshot. Vlado Kristl, *Don Kihot*, 1961. Animation; color; sound; 10:00 minutes. Courtesy of Filmmuseum München/Zagreb Film.
    Post-screening discussion. *Cinema for Houseboats* public program film night (October 2021). Zone Collective (Kirila Cvetkovska and Megan Hoetger), *Shadow Zones: Experimental Cinema History in Yugoslavia; or, a Cinema and a History Made and Unmade by Maps*, When Site Lost the Plot, Amsterdam, July - October 2021. Photo: Aram Lee, courtesy of When Site Lost the Plot.

    more info on Vlado Kristl 

  • Drawing the Archive

    2021

    • Presentational

    Part of:Zone Collective

    Press image. *Drawing the Archive* public program performance-lecture series (September 2021). Zone Collective (Kirila Cvetkovska and Megan Hoetger), *Shadow Zones: Experimental Cinema History in Yugoslavia; or, a Cinema and a History Made and Unmade by Maps*, When Site Lost the Plot, Amsterdam, July - October 2021. Photo: Megan Hoetger.
    Video documentation still. *Drawing the Archive* public program session one (September 2021). Zone Collective (Kirila Cvetkovska and Megan Hoetger), *Shadow Zones: Experimental Cinema History in Yugoslavia; or, a Cinema and a History Made and Unmade by Maps*, When Site Lost the Plot, Amsterdam, July - October 2021. Video documentation courtesy of When Site Lost the Plot.
    Video documentation still. *Drawing the Archive* public program session one (September 2021). Zone Collective (Kirila Cvetkovska and Megan Hoetger), *Shadow Zones: Experimental Cinema History in Yugoslavia; or, a Cinema and a History Made and Unmade by Maps*, When Site Lost the Plot, Amsterdam, July - October 2021. Video documentation courtesy of When Site Lost the Plot.
    Video documentation still. *Drawing the Archive* public program session one (September 2021). Zone Collective (Kirila Cvetkovska and Megan Hoetger), *Shadow Zones: Experimental Cinema History in Yugoslavia; or, a Cinema and a History Made and Unmade by Maps*, When Site Lost the Plot, Amsterdam, July - October 2021. Video documentation courtesy of When Site Lost the Plot.
    Performance-lecture materials. *Drawing the Archive* public program session one (September 2021). Zone Collective (Kirila Cvetkovska and Megan Hoetger), *Shadow Zones: Experimental Cinema History in Yugoslavia; or, a Cinema and a History Made and Unmade by Maps*, When Site Lost the Plot, Amsterdam, July - October 2021.
    Performance documentation. *Drawing the Archive* public program session two (October 2021). Zone Collective (Kirila Cvetkovska and Megan Hoetger), *Shadow Zones: Experimental Cinema History in Yugoslavia; or, a Cinema and a History Made and Unmade by Maps*, When Site Lost the Plot, Amsterdam, July - October 2021.

    dta-session-2_excerpt01.mp4 

    dta-session-2_excerpt02.mp4 

  • Shadow Zones: Experimental Cinema History in Yugoslavia; or, a Cinema and a History Made and Unmade by Maps

    2021

    • Exhibitionary

    Part of:Zone Collective

    Event announcement. Zone Collective (Kirila Cvetkovska and Megan Hoetger), *Shadow Zones: Experimental Cinema History in Yugoslavia; or, a Cinema and a History Made and Unmade by Maps*, When Site Lost the Plot, Amsterdam, July - October 2021. Design by Karoline Świeżyński.
    Exhibition installation view. Zone Collective (Kirila Cvetkovska and Megan Hoetger), *Shadow Zones: Experimental Cinema* *History in Yugoslavia; or, a Cinema and* *a History Made and Unmade by Maps*, When Site Lost the Plot, Amsterdam, July - October 2021. Photo: Quenton Miller, courtesy of When Site Lost the Plot.
    Exhibition installation view. Zone Collective (Kirila Cvetkovska and Megan Hoetger), *Shadow Zones: Experimental Cinema* *History in Yugoslavia; or, a Cinema and* *a History Made and Unmade by Maps*, When Site Lost the Plot, Amsterdam, July - October 2021. Photo: Quenton Miller, courtesy of When Site Lost the Plot.
    Exhibition installation view. Zone Collective (Kirila Cvetkovska and Megan Hoetger), *Shadow Zones: Experimental Cinema* *History in Yugoslavia; or, a Cinema and* *a History Made and Unmade by Maps*, When Site Lost the Plot, Amsterdam, July - October 2021. Photo: Quenton Miller, courtesy of When Site Lost the Plot.
    Exhibition installation view. Zone Collective (Kirila Cvetkovska and Megan Hoetger), *Shadow Zones: Experimental Cinema* *History in Yugoslavia; or, a Cinema and* *a History Made and Unmade by Maps*, When Site Lost the Plot, Amsterdam, July - October 2021. Photo: Quenton Miller, courtesy of When Site Lost the Plot.
    Exhibition installation view. Zone Collective (Kirila Cvetkovska and Megan Hoetger), *Shadow Zones: Experimental Cinema* *History in Yugoslavia; or, a Cinema and* *a History Made and Unmade by Maps*, When Site Lost the Plot, Amsterdam, July - October 2021. Photo: Quenton Miller, courtesy of When Site Lost the Plot.
    Exhibition installation view. Zone Collective (Kirila Cvetkovska and Megan Hoetger), *Shadow Zones: Experimental Cinema* *History in Yugoslavia; or, a Cinema and* *a History Made and Unmade by Maps*, When Site Lost the Plot, Amsterdam, July - October 2021. Photo: Quenton Miller, courtesy of When Site Lost the Plot.
    Exhibition installation view. Zone Collective (Kirila Cvetkovska and Megan Hoetger), *Shadow Zones: Experimental Cinema* *History in Yugoslavia; or, a Cinema and* *a History Made and Unmade by Maps*, When Site Lost the Plot, Amsterdam, July - October 2021. Photo: Quenton Miller, courtesy of When Site Lost the Plot.
    Exhibition installation view. Zone Collective (Kirila Cvetkovska and Megan Hoetger), *Shadow Zones: Experimental Cinema History in Yugoslavia; or, a Cinema and a History Made and Unmade by Maps*, When Site Lost the Plot, Amsterdam, July - October 2021. Photo: Quenton Miller, courtesy of When Site Lost the Plot.
    Exhibition installation view. Zone Collective (Kirila Cvetkovska and Megan Hoetger), *Shadow Zones: Experimental Cinema History in Yugoslavia; or, a Cinema and a History Made and Unmade by Maps*, When Site Lost the Plot, Amsterdam, July - October 2021. Photo: Quenton Miller, courtesy of When Site Lost the Plot.
    Post-screening discussion. *Cinema for Houseboats* public program film night (October 2021). Zone Collective (Kirila Cvetkovska and Megan Hoetger), *Shadow Zones: Experimental Cinema History in Yugoslavia; or, a Cinema and a History Made and Unmade by Maps*, When Site Lost the Plot, Amsterdam, July - October 2021. Photo: Aram Lee, courtesy of When Site Lost the Plot.
    Exhibition installation view. Zone Collective (Kirila Cvetkovska and Megan Hoetger), *Shadow Zones: Experimental Cinema* *History in Yugoslavia; or, a Cinema and* *a History Made and Unmade by Maps*, When Site Lost the Plot, Amsterdam, July - October 2021. Photo: Quenton Miller, courtesy of When Site Lost the Plot.

    sz-walkthrough.mp4 

    shadow-zones-handout.pdf [pdf, 230.02 KB] 

  • Black Revelry Quiet Storm

    2020 – 21

    • Production

    Part of:Black Revelry

    Derrais Carter, *Black Revelry Quiet Storm* radio marathon broadcasted with Ja Ja Ja Nee Nee Nee, Amsterdam from the Sandberg Institute, Amsterdam, November 2021. Photo: Konstantin Guz, courtesy of If I Can't Dance, Amsterdam.
    Derrais Carter, *Black Revelry Quiet Storm* radio marathon broadcasted with Ja Ja Ja Nee Nee Nee, Amsterdam from the Sandberg Institute, Amsterdam, November 2021. Photo: Konstantin Guz, courtesy of If I Can't Dance, Amsterdam.
    *Black Revelry Quiet Storm* playlists, insert materials. *Black Revelry: In Honor of 'The Sugar Shack'*, edited by Carter with contributions from Taylor Renée Aldridge; Samiya Bashir; La Marr Jurelle Bruce; Derrais Carter; DJ Lynnée Denise, William H. Mosley, III, Zoé Samudzi, S*an D. Henry-Smith, Melanie Stevens and Phillip B. Williams. Design by Karoline Świeżyński. Photo: Temra Pavlović, courtesy of If I Can't Dance, Amsterdam.
    online radio dedicated to the arts visit our website for an overview of shows and an indexed archive
    online radio dedicated to the arts visit our website for an overview of shows and an indexed archive

    Recommended reading: Sent 

    dublab guest session: Gathering 

    dublab guest session: Dispersal 

    dublab guest session: Frequency 

  • RELATIONSHIPS. Feminist Legacies, Queer Intimacies

    2020 – 21

    • Editorial

    Part of:Gift Science Archive

    Homepage project icon. Sands Murray-Wassink and Aimar Arriola, *RELATIONSHIPS. Feminist Legacies, Queer Intimacies*, (link: https://ificantdance.studio/archived-website/Gift-Science-Archive/overview.html text: www.ificantdance.studio target: _blank), June 2020 - February 2021.
    Chapter icon page. Sands Murray-Wassink and Aimar Arriola, *RELATIONSHIPS. Feminist Legacies, Queer Intimacies*, (link: https://ificantdance.studio/archived-website/Gift-Science-Archive/overview.html text: www.ificantdance.studio target: _blank), June 2020 - February 2021. Collage by Megan Hoetger.
    Perfume insert. Sands Murray-Wassink letter with insert in *(link: https://archive.perdu.nl/nl/archief/martha-jager/ text: Dear)*, a postal series initiated by Martha Jager and Sophie de Serière, Foundation Perdu, Amsterdam, June 2020.

    rflqi03a.mp4 

    Sands Murray-Wassink, *My Life is a Search For Like-Minded People*, 1996. Thought drawing; SMW A4 business stationery with fruit scented marker.
    Scan of materials sent by Sands to Aimar in September 2020. The background shows a fringed scarf from Aimar signaling the potentiality of loose ends. Pictured top: Sands Murray-Wassink, *Horse Painting* on fabric, 2018; pictured bottom: Sands Murray-Wassink, *I am even better than you think I am*, c. 2010. Postcard to be handed out based on Adrian Piper, *Calling Card #1 and #2* (1986-1990).
    Scan of materials sent by Sands to Aimar in September 2020. The background shows a fringed scarf from Aimar signaling the potentiality of loose ends. Pictured: Sands Murray-Wassink, *Call Me or Die*, 1998. Xerox copy of drawing on A4 paper.

    rflqi03b.mp4 

    Sands Murray-Wassink artist website 

    Aimar and Sands (Sands Music for us = Black & White) 2020 

    RELATIONSHIPS - full epistolary exchange 

  • VALUE. What is trash? What is trashy but valuable?

    2020

    • Conversational

    Part of:Gift Science Archive

    Left to right: Vivian van Saaze, Sands Murray-Wassink, Radna Rumping, Megan Hoetger. Sands Murray-Wassink with Megan Hoetger, Radna Rumping, and Vivian van Saaze, *Gift Science Archive Process Event #1: VALUE. What is trash? What is trashy but valuable?*, Rijksakademie van beeldende kunsten, March 2020. Photo: Silvia Ulloa Márquez, courtesy of If I Can't Dance, Amsterdam.
    Left to right: Vivian van Saaze, Sands Murray-Wassink, Radna Rumping. Sands Murray-Wassink with Megan Hoetger, Radna Rumping, and Vivian van Saaze, *Gift Science Archive Process Event #1: VALUE. What is trash? What is trashy but valuable?*, Rijksakademie van beeldende kunsten, March 2020. Photo: Silvia Ulloa Márquez, courtesy of If I Can't Dance, Amsterdam.
    Sands Murray-Wassink (left) and Radna Rumping (right). Sands Murray-Wassink with Megan Hoetger, Radna Rumping, and Vivian van Saaze, *Gift Science Archive Process Event #1: VALUE. What is trash? What is trashy but valuable?*, Rijksakademie van beeldende kunsten, March 2020. Photo: Silvia Ulloa Márquez, courtesy of If I Can't Dance, Amsterdam.
    Left to right: Vivian van Saaze, Sands Murray-Wassink, Radna Rumping, Megan Hoetger. Sands Murray-Wassink with Megan Hoetger, Radna Rumping, and Vivian van Saaze, *Gift Science Archive Process Event #1: VALUE. What is trash? What is trashy but valuable?*, Rijksakademie van beeldende kunsten, March 2020. Photo: Silvia Ulloa Márquez, courtesy of If I Can't Dance, Amsterdam.
    Sands Murray-Wassink with Megan Hoetger, Radna Rumping, and Vivian van Saaze, *Gift Science Archive Process Event #1: VALUE. What is trash? What is trashy but valuable?*, Rijksakademie van beeldende kunsten, March 2020. Photo: Silvia Ulloa Márquez, courtesy of If I Can't Dance, Amsterdam.
    Sands Murray-Wassink with Megan Hoetger, Radna Rumping, and Vivian van Saaze, *Gift Science Archive Process Event #1: VALUE. What is trash? What is trashy but valuable?*, Rijksakademie van beeldende kunsten, March 2020. Photo: Silvia Ulloa Márquez, courtesy of If I Can't Dance, Amsterdam.
    This is
    This is

    Sands Murray-Wassink artist website 

  • Performative Writing as Documentation

    2020 – 23

    • Workshop
    Students watch
    Students watch a film installation at *All About Theatre About Film* by Ivo van Hove and Jan Versweyveld. EYE Filmmuseum, Amsterdam, 2021.
    Students attend a lecture within the frame of *Court for Intergenerational Climate Crimes (CICC)* by Jonas Staal and Radha D'Souza. Framer Framed, Amsterdam, 2021.
    Students watch a film installation in the exhibition *Mountains and Molehills* by Fiona Tan. EYE Filmmuseum, Amsterdam, 2022.
    Student sits in an installation in the exhibition *For those who have no time to play* by Gluklya. Framer Framed, Amsterdam, 2022.
    Students sit inside the exhibition *Feed me. Cheat me. Eat me.* by Janis Rafa. EYE Filmmuseum, Amsterdam, 2023.
    Student sits inside the installation *Performing Colonial Toxicity* by Samia Henni. Framer Framed, Amsterdam, 2023.
    Students gather around the screen in a listening session with ekphrastic texts from *Black Revelry: In Honor of 'The Sugar Shack'* by Derrais Carter (2021). If I Can't Dance, Amsterdam, 2023.
    Student watches projection in the exhibition *Bad Color Combos* by Yto Barrada. Stedelijk Museum, Amsterdam, 2022.

    sndo-sample-syllabus-dec-2021.pdf [pdf, 131.56 KB] 

  • EXPRMNTL Nights

    2019

    • Curatorial
    *EXPRMNTL Nights* programme listing. Spring 2019 season booklet, Film Plateau University Film Club, Ghent University.
    Acknowledgements slide. Unknown film.
    Title Slide. Fugitive Cinema Production.
    Still. Herman Wuyts, *De Overkant*, 1967. 16mm film; b&w; sound; 10:00 minutes.
    Still. Robbe De Hert, *A Funny Thing Happened on My Way to Golgotha*, 1974. Animation; color; sound; 6:00 minutes.
    Spring 2019 season booklet. Film Plateau University Film Club, Ghent University.

    EXPRMNTL documentary film homepage 

    more info on EXPRMNTL  

  • A Sentimental Punk: An Incomplete Kurt Kren Film Retrospective, 1956-1996

    2018

    • Curatorial
    Event poster. *A Sentimental Punk: An Incomplete Kurt Kren Film Retrospective, 1956-1996*, curated by Megan Hoetger and blackhole cinematheque. The Lab, San Francisco, California, September 2018. Design by blackhole cinematheque.
    Keynote lecture title slide. Megan Hoetger,
    Keynote lecture slide. Megan Hoetger,
    Screening program schedule, day one. *A Sentimental Punk: An Incomplete Kurt Kren Film Retrospective, 1956-1996*, curated by Megan Hoetger and blackhole cinematheque. The Lab, San Francisco, California, September 2018.
    Keynote lecture slide. Megan Hoetger,
    Keynote lecture slide. Megan Hoetger,
    Screening program schedule, day two. *A Sentimental Punk: An Incomplete Kurt Kren Film Retrospective, 1956-1996*, curated by Megan Hoetger and blackhole cinematheque. The Lab, San Francisco, California, September 2018.
    Keynote lecture slide. Megan Hoetger,
    Keynote lecture slide. Megan Hoetger,
    Screening program schedule, day two. *A Sentimental Punk: An Incomplete Kurt Kren Film Retrospective, 1956-1996*, curated by Megan Hoetger and blackhole cinematheque. The Lab, San Francisco, California, September 2018.
    Keynote lecture slide. Megan Hoetger,
    Profitez des vidéos et de la musique que vous aimez, mettez en ligne des contenus originaux, et partagez-les avec vos amis, vos proches et le monde entier.
    Profitez des vidéos et de la musique que vous aimez, mettez en ligne des contenus originaux, et partagez-les avec vos amis, vos proches et le monde entier.
    Profitez des vidéos et de la musique que vous aimez, mettez en ligne des contenus originaux, et partagez-les avec vos amis, vos proches et le monde entier.
    Profitez des vidéos et de la musique que vous aimez, mettez en ligne des contenus originaux, et partagez-les avec vos amis, vos proches et le monde entier.
    Profitez des vidéos et de la musique que vous aimez, mettez en ligne des contenus originaux, et partagez-les avec vos amis, vos proches et le monde entier.
    Profitez des vidéos et de la musique que vous aimez, mettez en ligne des contenus originaux, et partagez-les avec vos amis, vos proches et le monde entier.

    The Lab event documentation 

    Canyon Cinema event listing 

    Kurt Kren filmmaker website 

  • Falter, Stumble, Plunge: Kurt Kren’s Structures

    2018

    • Writing
    Megan Hoetger,
    Portrait of Kurt Kren taken at his film retrospective, San Francisco Cinematheque, California, 1996.
    Megan Hoetger,
    Still. Kurt Kren, *44/85 Foot'-age Shoot'- out*, 1985.
    Megan Hoetger,
    Stamp collection of Kurt Kren. Kurt Kren Archive, Museum of Modern Art, Vienna.

    legrice_kurt-kren.pdf [pdf, 7.86 MB] 

    tscherkassky_lord-of-the-frames-kurt-kren.pdf [pdf, 92.01 KB] 

    Full text online 

  • Underground International: Kurt Kren and Tomonari Nishikawa

    2018

    • Curatorial
    Event listing. *Underground International: Kurt Kren and Tomonari Nishikawa*, curated by Patrick Harrison and Megan Hoetger. Berkeley Art Museum & Pacific Film Archive, California, November 2018.
    Still. Kurt Kren, *31/75 Asyl*, 1975. 16mm film; black/white; silent; 8:00 minutes. Courtesy of sixpackfilm, Vienna.
    Still. Tomonari Nishikawa, *Ten Mornings Ten Evenings and One Horizon*, 2016. 16mm film; color; sound; 10:00 minutes.
    Left to right: Megan Hoetger, Patrick Harrison, Tomonari Nishikawa. Post-screening discussion documentation. *Underground International: Kurt Kren and Tomonari Nishikawa*, curated by Patrick Harrison and Megan Hoetger. Berkeley Art Museum & Pacific Film Archive, California, November 2018.
    Kurt Kren, editing score for *31/75 Asyl* as reproduced in Kren's self-published *No Film* book. Courtesy of San Francisco Cinematheque, California.
    Kurt Kren, editing score for *31/75 Asyl* as reproduced in Kren's self-published *No Film* book. Courtesy of San Francisco Cinematheque, California.
    Kurt Kren, editing score for *31/75 Asyl* as reproduced in Kren's self-published *No Film* book. Courtesy of San Francisco Cinematheque, California.
    Kurt Kren, fragment of a score as reproduced in Kren's self-published *No Film* book. Courtesy of San Francisco Cinematheque, California.
    Still. Tomonari Nishikawa, *Tokyo - Ebisu*, 2010. 16mm film; color; sound; 5:00 minutes.
    Left to right: Megan Hoetger, Patrick Harrison, Tomonari Nishikawa. Post-screening discussion documentation. *Underground International: Kurt Kren and Tomonari Nishikawa*, curated by Patrick Harrison and Megan Hoetger. Berkeley Art Museum & Pacific Film Archive, California, November 2018.
    Into the Mass (Tomonari Nishikawa, 2007, 6 min., double projection 16mm, silent, color, USA) The visual was originally captured through two Super 8 cameras, which were attached on the pedals of a bicycle, through my ride from Marin County to San Francisco. The time-lapse footage was optically printed onto 16mm film afterwards, and the double projection would show a new landscape of the photogenic city. The ride ended after joining Critical Mass, an event occurs the last Friday of every month in San Francisco.
    Into the Mass (Tomonari Nishikawa, 2007, 6 min., double projection 16mm, silent, color, USA) The visual was originally captured through two Super 8 cameras, which were attached on the pedals of a bicycle, through my ride from Marin County to San Francisco. The time-lapse footage was optically printed onto 16mm film afterwards, and the double projection would show a new landscape of the photogenic city. The ride ended after joining Critical Mass, an event occurs the last Friday of every month in San Francisco.
    I buried a 100-foot (about 30 meters) 35mm negative film under fallen leaves alongside a country road, which was about 25 km away from the Fukushima Daiichi Nuclear Power Station, for about 6 hours, from the sunset of June 24, 2014, to the sunrise of the following day. The night was beautiful with a starry sky, and numerous summer insects were singing loud. The area was once an evacuation zone, but now people live there after the removal of the contaminated soil. This film was exposed to the possible remaining of the radioactive materials. This project is made possible with funds from the Media Arts Assistance Fund, a regrant program of the New York State Council on the Arts, Electronic Media and Film, with the support of Governor Andrew Cuomo and the New York State Legislature; administered by Wave Farm.
    I buried a 100-foot (about 30 meters) 35mm negative film under fallen leaves alongside a country road, which was about 25 km away from the Fukushima Daiichi Nuclear Power Station, for about 6 hours, from the sunset of June 24, 2014, to the sunrise of the following day. The night was beautiful with a starry sky, and numerous summer insects were singing loud. The area was once an evacuation zone, but now people live there after the removal of the contaminated soil. This film was exposed to the possible remaining of the radioactive materials. This project is made possible with funds from the Media Arts Assistance Fund, a regrant program of the New York State Council on the Arts, Electronic Media and Film, with the support of Governor Andrew Cuomo and the New York State Legislature; administered by Wave Farm.

    BAMPFA event listing 

    Tomonari Nishikawa filmmaker website 

    Kurt Kren filmmaker website 

  • In Terms of Performance

    2014 – 16

    • Editorial
    Homepage animation. *In Terms of Performance*, edited by Shannon Jackson and Paula Marincola (Arts Research Center at University of California, Berkeley, and The Pew Center for Arts & Heritage, Philadelphia). (link: https://www.intermsofperformance.site/ text: www.intermsofperformance.site target: _blank).
    Homepage index. *In Terms of Performance*, edited by Shannon Jackson and Paula Marincola (Arts Research Center at University of California, Berkeley, and The Pew Center for Arts & Heritage, Philadelphia). (link: https://www.intermsofperformance.site/ text: www.intermsofperformance.site target: _blank).
    Mark Russell,
    Installation view. Allison Smith, *Allison Smith: Rudiments of Fife & Drum*, The Aldrich Contemporary Art Museum, Ridgefield, CT. Photo: Chad Kleitsch, courtesy of The Aldrich Contemporary Art Museum.
    Andrea Fraser,
    Janine Antoni,
    Janine Antoni, *Yours Truly*, 2010. Ink on paper, 5 7/8 x 8 1/2”. ©Janine Antoni, courtesy of the artist and Luhring Augustine, New York.
    Stefan Kaegi,
    In 1920, under the direction of Nikolai Evreinov, thousands of participants (including Vladimir Lenin and thousands of Red Guards) reenacted the storming of the tsar's Winter Palace three years earlier, a pivotal moment in the October Revolution. Sergey Eisenstein used footage from the event in his film *October: Ten Days that Shook the World* (1928).

    full online anthology 

  • Double Review “Tiresias” and “Messianic Remains”

    2013

    • Writing
    Journal cover. *Performance Research: A Journal of the Performing Arts* 19, no. 3 (June 2014). Special issue
    Ron Athey, *Incorruptible Flesh: Messianic Remains*, 2013. Pigott Theater, Stanford University, California. Photo: Megan Hoetger.
    Ron Athey, *Incorruptible Flesh: Messianic Remains*, 2013. Pigott Theater, Stanford University, California. Photo: Megan Hoetger.
    Table of contents. *Performance Research: A Journal of the Performing Arts* 19, no. 3 (June 2014). Special issue

    hoetger-athey-psi-review_perf-research-_fall2014.pdf [pdf, 523.55 KB] 

    hoetger-cassils-psi-review_perf-research-fall2014.pdf [pdf, 226.4 KB] 

    Performance Research issue listing 

  • History As An Experience To Be Had

    2012

    • Writing
    Journal cover. *X-TRA: Contemporary Art Quarterly* 15, no. 1 (Fall 2012).
    Table of contents. *X-TRA: Contemporary Art Quarterly* 15, no. 1 (Fall 2012).
    Installation image. Liz Glynn, *Black Box*, January 2012. Organized by LAxART. Photo: Megan Hoetger.
    Dorian Wood, *Dorian Wood is Faggot Tree and Killsonic is Killsonic* in Dorian Wood’s “Athco, or the Renaissance of Faggot Tree
    Installation image. Heather Cassils, *Advertisement (Homage to Benglis)*, 2011. Photograph and Xerox copies; Key art: 30 x 40 inches, and tabloid-sized Xerox: 11 x 17 inches. Key image ©Heather Cassils and Robin Black 2011. Wall installation ©Heather Cassils 2011. Installation photo: Joshua White, courtesy of LACE (Los Angeles Contemporary Exhibitions).
    Suzanne Lacy, *Los Angeles Rape Map* installed at Deaton Auditorium, Los Angeles Police Department, as part of *Three Weeks in January*, 2012. Photo: Meg Madison, courtesy of LACE (Los Angeles Contemporary Exhibitions).

    hoetger-history-as-an-experience-to-be-had.pdf [pdf, 7.79 MB] 

    X-TRA issue listing 

    full text online