We are delighted to announce the release of KALEIDOSCOPE‘s new issue #39 (fall/winter 2021–22), a special edition entitled “Archive Continuum.”
In recent years, we have witnessed a huge resurgence of the archive as a global trend across creative industries—from coveted vintage clothing and rare books, to out-of-print magazines and iconic design pieces. Fueled by nostalgia and new principles of circular consumption, the archive as an ever-evolving platform for curatorial research, accumulation, and cataloguing, continues to affirm itself as an aesthetics and a state of mind. Aiming to rethink and challenge the stillness usually associated with the idea of the archive, we chose the title “Archive Continuum” to refer to the archive as an ongoing, living process—one that, we like to think, can perpetually change, evolve, and adapt to mutating circumstances.
First as a DJ aka The Wizard, then as the co-founder of techno collective Underground Resistance, and finally as a solo composer and artist, over four decades Jeff Mills (photographed here by Thibaut Grevet) has positioned himself as a legend and a “living archive” of Detroit’s musical lineage. As a new generation attempts to reorganize the history of dance music and “make techno black again,” DeForrest Brown, Jr. picks his brain on the balancing act between legacy and innovation.
Even if it’s impossible to separate archiving from power and control, millions of people are building their own “folk archives” in that volatile space that is the internet. In her work, Moroccan artist Meriem Bennani (photographed here by Charlie Engman) draws from this well, and especially YouTube videos, to build an alternative syntax. In conversation with Myriam Ben Salah, she calls into question the oral tradition, taxonomies of art history, and the diasporic condition.