iiinova — where your digital self keeps evolving

Center for Human Rights & the Arts @chrabard.bsky.social · 20/03/2026

“Tendon Thread” is an online talk produced in collaboration with Fisher Center and Fen Live Lab (فل/F’LL/), an incubator for innovations in live art and performance practices. It is moderated by Joanna Settle. Wednesday, April 1, 12pm ET. Registration link in bio. chra.bard.edu/event/tanya-...

chra.bard.edu

Tanya Lukin Linklater: “Tendon thread” at Bard College

Events and Performances at Bard College.

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Center for Human Rights & the Arts @chrabard.bsky.social · 25/02/2026

Abir Saksouk and Tania El Khoury are part of Dictaphone Group, a research and performance collective that creates live art events based on multidisciplinary study of space, especially in Beirut. dictaphonegroup.com

dictaphonegroup.com

Dictaphone Group – A research and performance collective

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Center for Human Rights & the Arts @chrabard.bsky.social · 25/02/2026

The talk is happening now. Abir Saksouk of Public Works Studio shares mapping and archival documentation of Israel's ongoing bombing of Lebanon.

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Center for Human Rights & the Arts @chrabard.bsky.social · 25/02/2026

Our first Spring 2026 webinar talk and first collaboration with Fen Live Lab (F’LL/فل) will be by architect and urbanist Abir Saksouk, presenting “Mapping and Documentation as Tools Against Erasure” live from Beirut TODAY Wednesday 25 February at 12pm EST/7pm Beirut time.

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Center for Human Rights & the Arts @chrabard.bsky.social · 04/02/2026

Join us online Wednesday, February 25 at 12:00 pm for a talk by Abir Saksouk of Public Works Studio. Public Works Studio is a multidisciplinary research and design studio that critically and creatively engages with various urban and public issues in Lebanon. chra.bard.edu/event/abir-s...

chra.bard.edu

Abir Saksouk (Public Works): Mapping and Documentation as Tools Against Erasure at Bard College

Events and Performances at Bard College.

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Center for Human Rights & the Arts @chrabard.bsky.social · 09/01/2026

HajYahia and Haddad’s award is in support of a film work as part of a collaborative research project they’re developing together. "A lover is one who waits" contemplates the aesthetics and politics of time and labor as they figure within settler-colonial economies. chra.bard.edu/news/chras-h...

chra.bard.edu

CHRA’s HajYahia and Haddad Awarded 2026 NYSCA Grant

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Center for Human Rights & the Arts @chrabard.bsky.social · 22/12/2025

CHRA alumni spotlight: For her thesis project, CHRA graduate Isabella Indolfi developed and presented a research-based lecture performance titled “Leave the Community Alone.” The performance explores the politics and ethics of “community art” in rural contexts. chra.bard.edu/news/chra-al...

chra.bard.edu

CHRA Alumni Spotlight: Leave the Community Alone

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Center for Human Rights & the Arts @chrabard.bsky.social · 17/12/2025

CHRA alumni spotlight: Katya Korableva’s documentary film Cranes and Ships was screened as part of the 2024 Oxford Shorts International Film Festival in Oxford, UK and the 2025 Mimesis Documentary Film Festival in Boulder, Colorado. Read more at the link: chra.bard.edu/news/chra-al...

chra.bard.edu

CHRA Alumni Spotlight: Migration and the Russian War on Ukraine

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Center for Human Rights & the Arts @chrabard.bsky.social · 08/12/2025

You can purchase our first three volumes of Talks on Human Rights & the Arts for your personal collections and libraries (or for your holiday gifts!) on our website, linked in bio. If you are local, get in touch to schedule a pick up of your copies from our offices at Bard College.

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Center for Human Rights & the Arts @chrabard.bsky.social · 03/12/2025

Thank you everyone who joined us from around the world at the re/presentare webinar “Reframing Evidence for the Commons”. For those who missed it, we have published the entire talk online. vimeo.com/chrabard/rep...

vimeo.com

re/presentare: Reframing Evidence From the Commons

The Center for Human Rights & the Arts at Bard College presents re/presentare: Reframing Evidence From the Commons November 14, 2025 Webinar moderated by…

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Center for Human Rights & the Arts @chrabard.bsky.social · 26/11/2025

Evidence is an international festival by Fisher Center LAB, in association with the Center for Human Rights and the Arts. It features programs in Annandale-on-Hudson, NY; Mexico City, Rio de Janeiro, and Tunis.

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Center for Human Rights & the Arts @chrabard.bsky.social · 26/11/2025

Resilience Overflow by Lara Tabet In search for Justice Among the Rubble by Public Works Studio Dignity by Chokri Ben Chikha The Vertiginous Story of Orthosia by Joana Hadjithomas & Khalil Joreige Zifzafa by Lawrence Abu Hamdan Photos by Tania El Khoury (1–4), and Pol Guillard (5–10)

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Center for Human Rights & the Arts @chrabard.bsky.social · 26/11/2025

The first program of the international festival Evidence, took place in Tunis in October 2025 curated by CHRA’s director Tania El Khoury and Dream City’s Artistic Director Jan Goosens. It featured five installation and performance works programmed during Dream City, a festival by L’Art Rue.

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Center for Human Rights & the Arts @chrabard.bsky.social · 25/11/2025

CHRA MA graduate Elie Arden presented “Sacrifice Zones: The Rights of Mother Nature, or, Becoming Indispensable” at the 5th Conference on Latin American Political Ecology held in Mexico City. chra.bard.edu/news/chra-st...

chra.bard.edu

CHRA Alumni Spotlight: The Rights of Mother Nature

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Center for Human Rights & the Arts @chrabard.bsky.social · 14/11/2025

Not by the researchers producing these indices, but by the state that funded the research to palliate the violence that they are incapable, or maybe even unwilling to stop.

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Center for Human Rights & the Arts @chrabard.bsky.social · 14/11/2025

Here, we see risk. It is the risk for the buscadoras once their knowledge has been extracted from them and the machines have been finely tuned to be displaced and discarded.

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Center for Human Rights & the Arts @chrabard.bsky.social · 14/11/2025

But as these special and chemical methods occupy a dominant space, they leave little room to allow for different materialities and experiences to act through inclusion, oral histories, dreams and other bodily forms of knowledge as valid epistemologies of violence, that is as evidence.

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Center for Human Rights & the Arts @chrabard.bsky.social · 14/11/2025

If we question and attempt to reframe what the communal archive is, who protects it, and to serve whom? We can begin to construct an alternative history that it is their own to create and guard and inherit to their young.

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Center for Human Rights & the Arts @chrabard.bsky.social · 14/11/2025

So what is evidence? Instead of asking the San Gregorio farmers to transform their knowledge into methodologies, we attempt to use art and visual tools to inscribe their history. Through methods and languages legible to them and their communities, but without risking their extraction.

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Center for Human Rights & the Arts @chrabard.bsky.social · 14/11/2025

In an effort to colonize these communities, political parties have mobilized people from other states to invade the land and use rubble as landfill to build on top of what were the chinampas.

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Center for Human Rights & the Arts @chrabard.bsky.social · 14/11/2025

And so, we enter into a new phase of extraction: One where this ancient situated knowledge [of chiampas] is processed through technoscientific methodologies, and begins to decouple atlapulcan epistemologies from their bodies and their communities.

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Center for Human Rights & the Arts @chrabard.bsky.social · 14/11/2025

So, it had to be built upon the efforts of victims of aggressions, civic society, collectives and indigenous communities.

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Center for Human Rights & the Arts @chrabard.bsky.social · 14/11/2025

We recognize the urgency and the forensic crisis in Mexico, but understood that the model for re/presentare had to be different because we would be operating from within the lands, politics and societies where violence occurred.

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Center for Human Rights & the Arts @chrabard.bsky.social · 14/11/2025

Although it is not the place of the state to recognize their ancestral ties to Pueblos originarios, these communities have learned to navigate the many bureaucratic and judicial roadblocks to protect their lands.

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Center for Human Rights & the Arts @chrabard.bsky.social · 14/11/2025

Mexican researchers have recently begun to translate embodied knowledge of buscadoras into a series of scientific methodologies. The work of these scientists, it's incredibly valuable in expanding the search for the disappeared and responding to an urgent and important crisis.

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Center for Human Rights & the Arts @chrabard.bsky.social · 14/11/2025

It is not until the mothers are asked directly about other forms of knowledge that they tell the stories of La Vidente and other buscadoras. Suddenly, dreams, desires, and intuition come to the forefront of their descriptions. They do not openly talk about this 2nd dimension of traces and clues.

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Center for Human Rights & the Arts @chrabard.bsky.social · 14/11/2025

When describing the many registers in which they work, they talk about years of acquired knowledge. Passed from one group to another, all strengthened through the scientific methodologies deployed by NGOs and associations.

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Center for Human Rights & the Arts @chrabard.bsky.social · 14/11/2025

Las madres buscadores have developed and registered many indicators of possible mass graves. A specific type of flower that only grows under high concentrations of nitrites, or a different color of soil that sinks when the bodies are decomposing.

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Center for Human Rights & the Arts @chrabard.bsky.social · 14/11/2025

"Many investigative journalists that have pursued similar lines of inquiry that Elis and Sergio has taken have faced threats in pursuing their work, so there's a certain militant activism that comes with the work of re/presentare that they will expand upon today." Ivonne Santoyo-Orozco, Moderator.

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Center for Human Rights & the Arts @chrabard.bsky.social · 14/11/2025

The webinar is happening now. Tune in at the link.

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Center for Human Rights & the Arts @chrabard.bsky.social · 10/11/2025

Images are from re/presentare's ongoing project "Tlamachtiloyan" as part of Evidence: an international festival by Fisher Center LAB, in association with the Center for Human Rights and the Arts at Bard College. Webinar talk this Friday: chra.bard.edu/event/prefur...

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Center for Human Rights & the Arts @chrabard.bsky.social · 07/11/2025

In this talk, re/presentare reflects on the practice of working from the commons, in its frictions and possibilities. Friday, November 14th at 12:00 pm New York / 11am Mexico City. Moderated by Ivonne Santoyo-Orozco. chra.bard.edu/event/repres...

chra.bard.edu

re/presentare: Reframing Evidence from the Commons at Bard College

Events and Performances at Bard College.

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Center for Human Rights & the Arts @chrabard.bsky.social · 05/11/2025

CHRA student spotlight: Lubnah showed work as part of “Domestic Departures: (Im)mobility, Loss, and Resilience in An Uncertain World” (November 2024). Read the full story: chra.bard.edu/news/chra-st...

chra.bard.edu

CHRA Student Spotlight: Exploring Hindu Temples in the UAE

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Center for Human Rights & the Arts @chrabard.bsky.social · 22/10/2025

CHRA alumni spotlight: Immanuel J. presented two live interactive performances in Fall 2024. They also published “The Black Performer Becomes Sisyphus” in Culturebot (March 5, 2025). Read more: chra.bard.edu/news/chra-al...

chra.bard.edu

CHRA Alumni Spotlight: Performative Politics of Black Bodies

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Center for Human Rights & the Arts @chrabard.bsky.social · 15/10/2025

Join us online Friday, November 14th at 12pm ET/ 11am CST for a conversation with re/presentare co-founders, Sergio Beltrán-García and Elis Mendoza. re/presentare is a spatial investigations agency that centers work from the commons to research human rights violations. chra.bard.edu/event/repres...

chra.bard.edu

re/presentare: Reframing Evidence from the Commons at Bard College

Events and Performances at Bard College.

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Center for Human Rights & the Arts @chrabard.bsky.social · 01/10/2025

CHRA alumni spotlight: Leil Mortada Zahra is showing their interactive installation, “The Land, not a film by Youssef Chahine” as part of AL.Berlin’s 2025 AL.FESTIVAL on October 3. chra.bard.edu/news/chra-al...

chra.bard.edu

CHRA Alumni Spotlight: On Nubian Dispossession

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Center for Human Rights & the Arts @chrabard.bsky.social · 26/09/2025

whenever he's exhibited this in South Africa and Kenya, he doesn't use the originals, he repaints the entire show.

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Center for Human Rights & the Arts @chrabard.bsky.social · 26/09/2025

And here, again, we can see what I just kind of described, this relationship between the violence itself and exclusion.

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Center for Human Rights & the Arts @chrabard.bsky.social · 26/09/2025

Aesthetic recognizability was a means of democratizing access to the work by inviting the everyman audience member to interact with these painful recollections.

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Center for Human Rights & the Arts @chrabard.bsky.social · 26/09/2025

Recognizing the exclusionary nature of high art, Owen originally wanted the works to draw people in from the street, as the inside of the gallery was visible from the sidewalk.

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Center for Human Rights & the Arts @chrabard.bsky.social · 26/09/2025

"I have a bit of trouble describing the painterly style of Sibathontisele because it does so much at the same time."

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Center for Human Rights & the Arts @chrabard.bsky.social · 26/09/2025

Sibathontisele was shut down almost immediately after its original opening at the National Gallery of Buluayo in March 2010.

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Center for Human Rights & the Arts @chrabard.bsky.social · 26/09/2025

The series is an active aesthetic narration of a gap in history that Jocelyn Alexander described as a noisy silence.

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Center for Human Rights & the Arts @chrabard.bsky.social · 26/09/2025

And it's through this political commitment that he's come to understand his role as an activist.

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Center for Human Rights & the Arts @chrabard.bsky.social · 26/09/2025

I'm struck by the steadfastness of Owen's intention to visually document his childhood memories. As a collectivizing memory of the experiences of others. He paints both what he remembers and what he has been told.

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Center for Human Rights & the Arts @chrabard.bsky.social · 26/09/2025

On its face, the program is intended to be a vehicle for survivors to share their experiences in the name of national healing. However, in its coordination with the National Council of Chiefs, participants would attend a private hearing, “alone or with minimal family support.”

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Center for Human Rights & the Arts @chrabard.bsky.social · 26/09/2025

Owen was slated to travel, and was arrested on Friday, June 13th. And on June 26th, the Gukurahundi Community Outreach Program was supposed to have commenced.

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