Week 124 – November 22 to November 29

Natacha Nisic

40 seconds.


Kyung-hwa Choi-ahoi

Let no one judge you

11.11.2022 Friday sunny 23:23

Mahsa Jina Amini

burst into tears while presenting her work as she read aloud her own text to go with her drawings. She interrupted the reading aloud. Everyone was silent in the classroom while she wiped the tear with her bare hand and repeated “sorry I’m crying”.

Elisa, fellow student, sat next to her and tried to help her to read her text for her. Her voice also wavered from excitement as Mahsa did when reading aloud. Soon she stopped. In a bumpy wet voice, she said to everyone, “Sorry, I can’t either.” There remained the collective wordlessness in the room. The silence among us.

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Katja Stuke

A Tree near Przewodów
(Google Street View 2016) Nov 16. 2022

»Every day news from/about Ukraine. Still. Every day a new name of a village, town or city in Ukraine. Every day a screenshot-photo of a tree in that town. A tree to just hold in for a moment. A tree as a reminder. A tree as a witness. A tree as a metaphor for time.« Katja Stuke, Trees in Ukraine, since 24.2.2022

Liza Dimbleby

War (Shelter Series), November 2021

Postcard from Glasgow: Shelters

I started making these small drawings of shelters, and trees, last November, as the trees shed their yellow. They were about inhabitable spaces, in the mind’s eye, and in the drawing. I made them on torn up strips of old life drawings from twenty years ago, that I did not want to throw away, regretting the waste of good quality paper. The images kept on coming, as if wanting to be painted. When I taped them to the wall in the spring, they seemed somehow to fit the awful circumstances in which they were now situated. Not a direct depiction, but not unrelated to the bleakness. And at the same time they were about a sort of refuge, a waiting or suspension. It’s November again. And the war is relentless, still. And I am still painting shelters.

Manuela Morgaine

BLACK-OUT – sources of light to the people of Ukraine.

Catherine Radosa

Témoin (champs-contre champs)

Photography made during the long-term film project Campagne de Paris, paysage triangulaire (2017-2022) on the Triangle of Gonesse (Paris region) – agricultural land in the process of artificialization.

Anne Dubos

Lately I’ve been reading David Graeber’s articles and books. I came to visit his online institute, one of whose projects is called: « The Museum of Care ».
I thought he belonged here. Or maybe my own archives of Care should be part of his museum.
Also I propose that my page of the Letter of the Crown, enters for a time, in the Museum of Care

Purpose & Values
What The Museum of Care IS
An idea
An art project
A collection of spaces to meet
A place to hide
A place that you can make your own by copying everything and taking it with you 
A place to argue, and to be friends
A mailing list, a collection of links, a reading group or movie club.
Mostly it is the people themselves. Actually, there is nothing in it except the people.

What The Museum of Care IS NOT
A collection of goods and treasures that may be stolen and sold
A fundraising machine
A cemetery
A job centre
A political party
A lobbyist group