Our artistic collaborative work merges post-architectural ideas and scenarios which explore the transformations of built spaces and their social reality, and extend into investigations of the human psyche and unresolved phenomena. These multifaceted forms of inquiry combine the means of photography, installation, sound, video, light, archival material and sculptural elements that hover between fiction and documentary. Our latest research has looked into the afterlife and potential narratives of controversial Olympic sites in Beijing, Athens, Sarajevo and Montreal, or defensive architectures built in Switzerland during WWII and their extension into altered bunkers found in everyday homes or municipal shelters across the country. During the residency at Titanik, we would like to develop a sound-oriented work on the speculative forces of fiction in architecture and how this affects common perceptions.
and plant seeds for a different way of living. | 19.1.–6.2.2022
Museum of Impossible Formsin nykyinen ohjelmisto ja tutkimuskehys a sea cannot exist without waves(2021–) on omistettu uudelle internationalismille sekä transnationalistisille feministisille metodologioille, jotka purkavat kolonialismin perintöä kuvitellakseen ja luodakseen huolenpitoon ja vastavuoroisuuteen perustuvia sosioekologisia tulevaisuuksia. M{if}:n tämänhetkinen ohjelmallinen suuntaus keskittyy diasporasta kertyneen tiedon, translokaalien kokemusten ja episteemisen moniarvoisuuden vahvistamiseen yhteisen hyvinvointimme välttämättöminä edellytyksinä. _____ Museum of Impossible Forms’ current program and research framework a sea cannot exist without waves(2021–) is dedicated to new internationalisms and transnational feminist methodologies, deconstructing the legacies of coloniality in order to imagine and create socio-ecological futures based on care and reciprocity. M{if}’s present programmatic direction focuses on amplifying diasporic knowledge(s), translocal experiences, and epistemic plurality as necessary conditions for our collective wellbeing.