Qalqalah, a Reader
In 2015, Bétonsalon – Centre for Art and Research, and the Kadist Art Foundation Paris, are launching the joint publication Qalqalah, a “reader” gathering contributions from artists and researchers on a variety of interlinked issues. The name Qalqalah is taken from a text by Cairo-based curator Sarah Rifky. In the text, the eponymous heroine, living in the near future, gradually loses her memory in a world where notions of language, art and economy have quietly collapsed. In this world of reconstituted, fluid knowledge, which inspires a mixture of hope and fear, the meaning of the Arabic name Qalqalah—“a movement of language, a phonetic vibration, a rebound or echo”—suggests one way of moving forward.
Conceived as an online, bilingual (French/English) publication, Qalqalah provides an outlet for international voices that are not always heard in France, and vice versa. Rather than follow a purely event-based logic, Qalqalah develops over time to form a space for interactions, overlaps, digressions and interpretations, for the deepening of lines of research, the sharing of resources, and the development of critical thought decentered from Western points of reference.
The first issue, released in April 2015, gathers contributions from Marie-laure Allain Bonilla, Lotte Arndt, Em’kal Eyongakpa, Maryam Jafri, Saadat Hasan Manto, Pedro Neves Marques, Marian Nur Goni and Erika Nimis, Helihanta Rajaonarison, Sarah Rifky and Emma Wolukau-Wanambwa.
Download the first issue of Qalqalah:
The second issue, released in February 2016, gathers contributions of Antariksa, Biljana Ciric, Maxime Guitton, Marianna Hovhannisyan, Otobong Nkanga, Victoria Noorthoorn, Sarah Rifky and Simon Soon.
Download the second issue of Qalqalah:
Edited by: Virginie Bobin, Mélanie Bouteloup, Elodie Royer and Emilie Villez.
Graphic design: Syndicat.
Qalqalah is supported by the UDPN program - Usages des patrimoines numérisés (Idex SPC).