BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:adamgibbons/ics METHOD:PUBLISH X-PUBLISHED-TTL:PT1H BEGIN:VEVENT UID:29435@offbeat.amsterdam SUMMARY:Annotations to the Image DTSTAMP:20261023T201927Z DTSTART:20261031T140000Z DTEND:20261031T180000Z DESCRIPTION:Across histories of militant image-making\, annotations have se rved as\ninstruments of transmission and political instruction\; they anch or images within\nthe crucible of struggle and allow them to acquire new m eanings as they travel\nacross space and time. An annotation can also be a n interruption\, an act of\nreorientation that unsettles what we presume t o know or see. On 31 October 2026\,\nas part of the opening weekend of Lif e After Love: In Search of the Militant\nImage\, participating artists rev isit their contributions to the exhibition\nthrough walkthroughs\, lecture presentations and readings.\n\nThe programme Annotations to the Image fea tures interventions by artists Chaw Ei\nThein [https://framerframed.nl/men sen/chaw-ei-thein/]\, Isshaq Albarbary\n[https://framerframed.nl/mensen/is shaq-albarbary/]\, Sawangwongse Yawnghwe\n[https://framerframed.nl/mensen/ sawangwongse-yawnghwe/]\, Haig Aivazian\n[https://framerframed.nl/mensen/h aig-aivazian/]\, Hannah Black\n[https://framerframed.nl/mensen/hannah-blac k/] and Nolan Oswald Dennis\n[https://framerframed.nl/mensen/nolan-oswald- dennis/]\, tracing the material\nconditions and political commitments info rming the works on view in the\nexhibition Life After Love: In Search of t he Militant Image\n[https://framerframed.nl/exposities/life-after-love/].\ n\nPlease register here\n[https://framerframed.stager.co/shop/default/even ts/111713252]\n\nProgramme\n\n15:00 Artists’ Street: A Walking Tour with C haw Ei Thein\n16:00 The making of Kharajat (She Went Out) with Isshaq Alba rbary\n17:00 The making of People’s Defence Force I–X with Sawangwongse Ya wnghwe\n18:00 Readings by Haig Aivazian\, Hannah Black and Nolan Oswald De nnis\n\nArtists’ Street: A Walking Tour with Chaw Ei Thein\nJoin Chaw Ei T hein for a walking tour through Artists’ Street\, her installation\nof thi rty-eight hand-sewn textile figures that reconstruct scenes of artistic\np rotest against military rule in Myanmar\, from the student demonstrations of\n1996 through the 2007 Saffron Revolution to the aftermath of the 2021 coup.\nMoving from figure to figure\, the artist tells the stories behind each scene\,\nsome she witnessed\, others passed to her through orality an d scattered\ndocumentation. The dolls form an archive of street performanc e that exists\nalmost nowhere else\, a record of coded gestures\, staged i nterruptions and small\npublic absurdities improvised against censorship a nd violence. Light enough to\ntravel in a bag\, they follow the path of th e exiled.\n\nThe making of Kharajat (She Went Out) with Isshaq Albarbary\n Isshaq Albarbary retraces the making of Kharajat (She Went Out)\, his film \nco-commissioned for Life After Love. The work takes as its starting poin t two\nrecordings of Israeli mustaʿribīn\, undercover units who disguise t hemselves as\nPalestinians. In 2015\, security cameras at a hospital in al -Khalil captured a\nunit entering the premises\, one member disguised as a woman in labour\, another\npushed in a wheelchair. In 2017\, handheld cam eras at Bethlehem’s northern\nentrance recorded plain-clothes men pulling on balaclavas and seizing\nPalestinian protesters. Woven through the film is a new muwashshaḥ\, written by\nAlbarbary and his twin brother after an anonymous Andalusian original\, and\ncomposed and sung by Maya Khalidi. Al barbary draws on tanaaqush\, an Arabic term\nthat brings together the acts of engraving and argument\, to explore how images\nleave their marks on o ne another. This exchange also informs his wider\nengagement with the hist ories and inheritances of stateless refugees.\n\nThe making of People’s De fence Force I–X with Sawangwongse Yawnghwe\nSawangwongse Yawnghwe presents People’s Defence Force I–X\, a series of paintings\nmade in the wake of B urma’s 2021 Spring Revolution. Drawing on the stories and\nimages of prote sters\, the series considers what Frantz Fanon and Zahi Zalloua\nmight des cribe as a form of symbolic suicide\, when individuals relinquish their\ne stablished identities and enter a radically different political existence. For\nmany\, this transformation meant fleeing to the jungle and taking up arms\, either\nby joining the newly formed People’s Defence Forces (PDFs) or by allying\nthemselves with established ethnic armed organisations. Ya wnghwe situates these\npaintings within a longer history of uprisings agai nst military rule\, in which\nhis own family participated\, and returns to a question that runs through his\nwork: Which way to land?\n\nReadings by Haig Aivazian\, Hannah Black and Nolan Oswald Dennis\nHaig Aivazian\, Han nah Black\, and Nolan Oswald Dennis bring together a selection\nof texts a nd reflections that extend their contributions to Life After Love.\nThey m ove between artistic research and polemical expression to consider the\nim age’s relationship to political education.\n\nCurated by Hera Chan [https: //framerframed.nl/mensen/hera-chan/] and Edwin Nasr\n[https://framerframed .nl/mensen/edwin-nasr/]\, the exhibition Life After Love: In\nSearch of th e Militant Image asks what the changing forms of political struggle\nrevea l about the changing forms of image-making. If the militant image of the\n twentieth century emerged alongside mass party politics\, anti-colonial\nl iberation movements and the project of revolutionary cinema\, what becomes of\nthat tradition within a conjuncture shaped by digital platforms\, alg orithmic\ncirculation and decentralised forms of political organising?\n\n The exhibition approaches the militant image as a historical category\, wh ich has\nalways depended upon particular forms of mediation. Earlier tradi tions of\nmilitant image-making were sustained by formations capable of pr oducing and\ncirculating images in the name of a collective political subj ect. Their\nambitions were inseparable from the infrastructures through wh ich they moved and\nthe revolutionary horizons they sought to cultivate.\n \nContemporary uprisings unfold under markedly different terms. Images now \ncirculate across encrypted messaging applications\, social media feeds a nd\ninformal digital networks whose logics reshape our visibility and atte ntion.\nOften produced by those embedded within the events themselves\, th ey move rapidly\nbetween testimony\, tactical communication and affective expression. Their\naesthetic form bears the imprint of the political momen t from which they emerge:\nanonymity\, spontaneity and opacity become qual ities inscribed within the images.\n\nRather than asking whether the milit ant image survives in the present\, Life\nAfter Love asks how its politica l function has been transformed\, and what this\ntransformation discloses about the actuality of struggle. The works assembled\nhere reflect upon th e conditions through which images are produced\, circulated\,\nappropriate d and contested. Many emerge from practices situated alongside\npolitical organising\, mutual aid and community work\, where cultural production\nun folds in close proximity to lived struggle and the imperative of\ninternat ionalist solidarity. Taken together\, they invite viewers to consider the\ nmilitant image in the present tense and the forms through which emancipat ory\nfutures become thinkable.\n\nInfo & Credits\n\nThis event is in Engli sh.\n\nAdmission is free\, pay what you can. Do you also think art should be free and\naccessible? Please consider supporting us with a donation whe n registering or by\nbecoming a Framer Framed Friend [https://framerframed .nl/over-ons/friends/]!\n\nFor seated programmes\, places are always made available for wheelchair users.\nPlease speak to the host before the progr amme begins.\n\nThis event may be photographed and filmed. Kindly let us k now in advance if you\nprefer not to have your picture taken.\n\nFramer Fr amed is supported by the Ministry of Education\, Culture and Science\;\nAm sterdam Fund for the Arts\; and Municipality of Amsterdam.\n\nLocation\n\n Framer Framed\nOranje-Vrijstaatkade 71\n1093KS\, Amsterdam URL:https://offbeat.amsterdam/event/annotations-to-the-image GEO:52.3568405;4.9323245 LOCATION:Framer Framed - Oranje-Vrijstaatkade 71\, 1093KS Amsterdam STATUS:CONFIRMED CATEGORIES:amsterdam-oost,community,dapperbuurt,exhibition,film,jungle,lect ure,opening,party,performance,stories X-ALT-DESC;FMTTYPE=text/html:Across histories of militant image-making, ann otations have served as instruments of transmission and political instruct ion; they anchor images within the crucible of struggle and allow them to acquire new meanings as they travel across space and time. An annotation c an also be an interruption, an act of reorientation that unsettles what we presume to know or see. On 31 October 2026, as part of the opening weeken d of Life After Love: In Search of the Militant Image, participat ing artists revisit their contributions to the exhibition through walkthro ughs, lecture presentations and readings.

The programme Annotations to t he Image features interventions by artists Chaw Ei Thein, Isshaq Albarb ary, Sawangwongse Yawnghwe, Haig Aivazian, Hannah Black a nd Nolan Oswald Dennis, tracing the material conditions and politi cal commitments informing the works on view in the exhibition Life After Love: In Search of the Militant Image.

Please regist er here

Programme

15:00 Artists’ St reet: A Walking Tour with Chaw Ei Thein
16:00 The mak ing of Kharajat (She Went Out) with Isshaq Albarbary
17:00 The making of People’s Defence Force I–X with Sawa ngwongse Yawnghwe
18:00 Readings by Haig Aivazian, Ha nnah Black and Nolan Oswald Dennis

Artists’ Street: A Walkin g Tour with Chaw Ei Thein
Join Chaw Ei Thein for a walking t our through Artists’ Street, her installation of thirty-eight han d-sewn textile figures that reconstruct scenes of artistic protest against military rule in Myanmar, from the student demonstrations of 1996 through the 2007 Saffron Revolution to the aftermath of the 2021 coup. Moving fro m figure to figure, the artist tells the stories behind each scene, some s he witnessed, others passed to her through orality and scattered documenta tion. The dolls form an archive of street performance that exists almost n owhere else, a record of coded gestures, staged interruptions and small pu blic absurdities improvised against censorship and violence. Light enough to travel in a bag, they follow the path of the exiled.

The making of Kharajat (She Went Out) with Isshaq Albarbary
Isshaq Albarbary retraces the makin g of Kharajat (She Went Out), his film co-commissioned for Li fe After Love. The work takes as its starting point two recordings of Israeli mustaʿribīn, undercover units who disguise themselves as Palestinians. In 2015, security cameras at a hospital in al-Khalil captur ed a unit entering the premises, one member disguised as a woman in labour , another pushed in a wheelchair. In 2017, handheld cameras at Bethlehem’s northern entrance recorded plain-clothes men pulling on balaclavas and se izing Palestinian protesters. Woven through the film is a new muwashsh aḥ, written by Albarbary and his twin brother after an anonymous Anda lusian original, and composed and sung by Maya Khalidi. Albarbary draws on tanaaqush, an Arabic term that brings together the acts of engra ving and argument, to explore how images leave their marks on one another. This exchange also informs his wider engagement with the histories and in heritances of stateless refugees.

The making of People’s Defence Force I–X with Sawangwongs e Yawnghwe
Sawangwongse Yawnghwe presents People’s Defenc e Force I–X, a series of paintings made in the wake of Burma’s 2021 S pring Revolution. Drawing on the stories and images of protesters, the ser ies considers what Frantz Fanon and Zahi Zalloua might describe as a form of symbolic suicide, when individuals relinquish their established identit ies and enter a radically different political existence. For many, this tr ansformation meant fleeing to the jungle and taking up arms, either by joi ning the newly formed People’s Defence Forces (PDFs) or by allying themsel ves with established ethnic armed organisations. Yawnghwe situates these p aintings within a longer history of uprisings against military rule, in wh ich his own family participated, and returns to a question that runs throu gh his work: Which way to land?

Readings by Haig Aivazian, < /strong>Hannah Black and Nolan Oswald Dennis
Haig Aivazian, Hannah Black, and Nolan Oswald Dennis bring togeth er a selection of texts and reflections that extend their contributions to Life After Love. They move between artistic research and polemic al expression to consider the image’s relationship to political education.

Curated by Hera Chan and Edwin Nasr, the exhibition Life After Lov e: In Search of the Militant Image asks what the changing forms of po litical struggle reveal about the changing forms of image-making. If the m ilitant image of the twentieth century emerged alongside mass party politi cs, anti-colonial liberation movements and the project of revolutionary ci nema, what becomes of that tradition within a conjuncture shaped by digita l platforms, algorithmic circulation and decentralised forms of political organising?

The exhibition approaches the militant image as a histor ical category, which has always depended upon particular forms of mediatio n. Earlier traditions of militant image-making were sustained by formation s capable of producing and circulating images in the name of a collective political subject. Their ambitions were inseparable from the infrastructur es through which they moved and the revolutionary horizons they sought to cultivate.

Contemporary uprisings unfold under markedly different te rms. Images now circulate across encrypted messaging applications, social media feeds and informal digital networks whose logics reshape our visibil ity and attention. Often produced by those embedded within the events them selves, they move rapidly between testimony, tactical communication and af fective expression. Their aesthetic form bears the imprint of the politica l moment from which they emerge: anonymity, spontaneity and opacity become qualities inscribed within the images.

Rather than asking whether t he militant image survives in the present, Life After Love asks h ow its political function has been transformed, and what this transformati on discloses about the actuality of struggle. The works assembled here ref lect upon the conditions through which images are produced, circulated, ap propriated and contested. Many emerge from practices situated alongside po litical organising, mutual aid and community work, where cultural producti on unfolds in close proximity to lived struggle and the imperative of inte rnationalist solidarity. Taken together, they invite viewers to consider t he militant image in the present tense and the forms through which emancip atory futures become thinkable.

Info & Credits

This event is in E nglish.

Admission is free, pay what you can. Do you also think art s hould be free and accessible? Please consider supporting us with a donatio n when registering or by becoming a Framer Framed Friend!

For seated p rogrammes, places are always made available for wheelchair users. Please s peak to the host before the programme begins.

This event may be phot ographed and filmed. Kindly let us know in advance if you prefer not to ha ve your picture taken.

Framer Framed is supported by the Ministr y of Education, Culture and Science; Amsterdam Fund for the Arts; and Muni cipality of Amsterdam.

Location

Framer Framed
Oranje-Vrijsta atkade 71
1093KS, Amsterdam

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