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Review of: Barang-Barang, Erika Tan Stanley Picker Gallery, Kingston University, London, 17 February–9 April 2022 [ABSTRACT FROM AUTHOR]

An editorial is presented on artist filmmaker Jasmina Cibic reflecting on the generative role of archive research in the filmmaking. Topics include archival transcripts of diplomatic speeches, cultural papers and letters, particularly relating to the governmental operations of the Balkans and former Yugoslavia; and filmmakers counter official histories and their archives, unravelling the reifications to provide a more discursive and dynamic reading of history.

An interview with Shezad Dawood is presented. When asked about the reaction of people while watching the five films in the Leviathan Cycle series at the Bluecoat Gallery, he found it interesting as he seen them spatially demarcated as an exhibition. Also the translation on Netflix, HBO season model into a spatialized exhibition context.

The article offers information related to "The three ecologies". Topics discussed includes the three interconnected ecologies that are environment, social relations and human subjectivity, arguing that the ecological crisis that threatens our planet and ourselves is the direct result of the boundless expansion of global capitalism.

An introduction is presented in which the editor discusses articles in the issue on topics including perspectives and research on historical and contemporary practices, dominant discourses in fine art and traditional film theory, and critical discourses of contemporary art.

An interview with filmmaker of the film "Estate"Andrea Luka Zimmerman is presented. Topics mentioned in the iterview include the duel between the characters Clarissa and Pamela on the roof of the 'avant-garde' building, moral imperative of the film, and about filming and the actual funding and who funded the film's workshop.

This article examines the part played by four film and video artists as chroniclers as well as participants in the civic struggle against nuclear weapons, providing alternative documents of the women's camp at Greenham Common to those of the official media record. For, as the article will discuss, the model of protest at Greenham was uniquely indebted to, and characterised by, the models of non-violent resistance developed through post-war feminism. As part of this, a strategy of creative resistance had an important role to play: through song and poems, through banners, paintings and drawings; by amateur and professional artists. However, the film and video documents of Greenham Common by Tina Keane, Joanna Davis and Lis Rhodes, and Annabel Nicolson, on which this article will focus, are not concerned solely with advocacy for anti-nuclear and political protest, but rather, Greenham proved inspirational for them on an individual basis, enabling them to meaningfully explore how feminist principles might be folded into their experimental practices. [ABSTRACT FROM AUTHOR]