The NAKABA goes on!! - Here is Ghayath Almadhoun's poem WE from 2008. The killig goes on and the poem is unfortunatly is more than up to date. Ghayath Almadhoun’s poem WE was written during the attack launched by Israel on the Gaza Strip at the end of 2008. Here is the closing part of my composition EPEXEGESIS with Blixa Bargeld as a narrator and Ilan Volkov as conductor. Here in English and Arabic:
WE
We, who are strewn about in fragments, whose flesh flies through the air like raindrops, offer our profound apologies to everyone in this civilised world, men, women and children, because we have unintentionally appeared in their peaceful homes without asking permission. We apologise for stamping our severed body parts into their snow-white memory, because we have violated the image of the normal, whole human being in their eyes, because we have had the impertinence to leap suddenly on to news bulletins and the pages of the internet and the press, naked except for our blood and charred remains. We apologise to all those who did not have the courage to look directly at our injuries for fear they would be too horrified, and to those unable to finish their evening meals after they had unexpectedly seen fresh images of us on television. We apologise for the suffering we caused to all who saw us like that, unembellished, with no attempt having been made to put us back together or reassemble our remains before we appeared on their screens. We also apologise to the Israeli soldiers who took the trouble to press the buttons in their aircraft and tanks to blow us to pieces, and we are sorry for how hideous we looked after they aimed their shells and bombs straight at our soft heads, and for the hours they are now going to spend in psychiatrists’ clinics, trying to become human again, like they were before our transformation into repulsive body parts that pursue them whenever they try to sleep. We are the things you have seen on your screens and in the press, and if you made an effort to fit the pieces together, like a jigsaw, you would get a clear picture of us, so clear that you would be unable to do a thing.
Translation: Catherine Cobham
نحن المتناثرون شظايا، الممطرون لح
A taste of how a church organ (Hans-Ola Ericsson) and reeds (Dror Feiler) sound in a bootleg fragment of Lamentation (2024).
On 8 May at 18:30 in Sophienkirche, Berlin: two world premieres—*Galé* for solo glissando flute, and *Stille kommt um die Wehrlosen* for glissando flute (Erik Drescher) and organ (Maximilian Schnaus).
See: https://fb.me/e/jqO2WnHi6](https://fb.me/e/jqO2WnHi6
Dror Feiler is a @daad_artists fellow
Closing a day of talks and discussions around CTM 2026’s dissonate < > resonate theme, @drorfeiler , @ibeeiliyas and @microhm.io —three artists who use noise in their roles as artists, organizers and activists—join @lottiesebes to talk noise-making as a process of building and breaking systems: technical, social, political, aesthetic.
› Listen now via biolinktree🎚️
Photos: @udosiegfriedt
Sören Runolf – elektroakustiske musik/klangskapare samt Lokomotiv Konkret’s gitarrist, cellist, och pianist i över femtio år är inte med oss längre. Begravningen äger rum på Fylkingen den 19 maj kl. 14. Därefter inbjuds till en minnesstund.
OSA till [email protected] senast den 12 maj
re:organ_LABOR FÜR NEUE ORGELKLÄNGE und GLISSANDOFLÖTE - Music by Dror Feiler & JEHAN ALAIN
Concert at Sophienkirche 8 May 18:30 CET. Erik Drescher | glissando flute
Maximilian Schnaus | organ
JEHAN ALAIN - Trois danses for organ
DROR FEILER - Galé (world premiere) for glissando flute solo and - שטיל קומט אום דער אומבאַשיצטער (Stille kommt um die Wehrlosen), (world premiere) for glissando flute and organ
MAPPING BODEN - An Archive of Re-membering
Displacement ● coordinates ● zero point ● memory
It was a great opening yesterday evening at Supermarket - Stockholm Independent Art Fair 2026. We (Kent Klich and Tina Enghoff) feel truly grateful to have been invited by the independent art gallery TEGEN2 to share part of our larger project WIPE ALL TRACES. At Supermarket, we are presenting one chapter of the work: MAPPING BODEN – An Archive of Re-membering, developed in close collaboration with Havremagasinet Länskonsthall Boden and people with refugee experience.
In 2015, more than one million people fled to Europe in search of asylum. Shortly thereafter, a shift took place: from reception to rejection, from openness to closure. A new mantra was established – first in Denmark, soon also in Sweden: the fewer refugees, the better.
Boden was one of the places where this movement temporarily came to rest. A node in a larger displacement. A place where lives passed through, waited, tried to take shape. In the wake of this, Mapping Boden – An Archive of Re-membering has emerged—a living weave of memory composed of oral history, photography, photogrammetry, and video installation, opening itself to change and transformation. Like multiple timelines bending past and present toward one another, it makes visible an important part of Swedish history that, at this moment, remains unpreserved.
Havremagasinet Länskonsthall, ABF Norr Boden and Save the Children together with people with experience of flight carried out this joint project, in which personal memories from the years 2015–2019 were assembled into an archive.
Now, Mapping Boden makes lands at TEGEN2, in the midst of the ongoing migration debate and the urgent questions of deportation.
Mapping Boden is an extension of the exhibition In the Past We Made History which will change name to Wipe All Traces and shown at Skissernas Museum in Lund 26/11 – 2026 – 2/5 – 2027 with new extended work, The Sixteen Seeds Library and A Geography of Violence.
Opening hours: 13-26 April (tue-fri 14:00–20:00, sat 12:00–20:00, sun 12:00–18:00).
Locaton: Erskinhuset, Slakthusområdet, Hallvägen 21, Stockholm.
I went today to the National Monument to the Wars of Liberation in Viktoriapark. The marble slab intervention — a carved counter-monument bearing the inscription “No monument is innocent” — was no longer there. (Photo 1: 21/3 craving, Photo 2: 21/3 transporting, photo 3: 21/3 in place, photo 4: 19/4 gone.) When and where to it disappeared to remains unknown to me.
The inscription was carved by me on 21/ during a performance at Kunstraum Kreuzberg as a part of a collaboration between CTM festval and DAAD. The performance did not end with the carving. When the sentence was completed, the marble slab—160 × 30 × 2 cm—was lifted and carried through Berlin, from Kunstraum Kreuzberg to Viktoriapark, where it was placed at the base of the National Monument to the Wars of Liberation.
Today, it is gone.
Today, April 19, marks 80 years since a small group of Jewish fighters rose up in the Warsaw Ghetto Uprising.
In the face of certain destruction, they chose resistance. Around 13,000 Jews were killed during the uprising—some 6,000 burned alive or perished in the flames and violence unleashed by the Nazis. Yet within that annihilation, they asserted something irreducible: dignity, defiance, the refusal to disappear silently.
The Jews of the Warsaw Ghetto did not wait for liberation. They took up arms against fascism and fought—outnumbered, outgunned—not for victory in any conventional sense, but for the right to resist.
Their uprising endures not as a symbol of tragedy alone, but as an act of uncompromising clarity. It demands something of us: to recognize, and to act. To draw strength from those who, even in the darkest conditions, found the inner certainty to oppose fascism, racism, hatred, and bigotry—wherever they emerge.
TEGEN2 at Supermarket - Stockholm Independent Art Fair
Displacement ● coordinates ● zero point ● memory
Tina Enghoff & Kent Klich
In 2015, more than one million people fled to Europe in search of asylum. Shortly thereafter, a shift took place: from reception to rejection, from openness to closure. A new mantra was established – first in Denmark, soon also in Sweden: the fewer refugees, the better.
Boden was one of the places where this movement temporarily came to rest. A node in a larger displacement. A place where lives passed through, waited, tried to take shape. In the wake of this, Mapping Boden – An Archive of Re-membering has emerged—a living weave of memory composed of oral history, photography, photogrammetry, and video installation, opening itself to change and transformation. Like multiple timelines bending past and present toward one another, it makes visible an important part of Swedish history that, at this moment, remains unpreserved.
Havremagasinet Länskonsthall, ABF Norr Boden and Save the Children together with people with experience of flight carried out this joint project, in which personal memories from the years 2015–2019 were assembled into an archive.
Now, Mapping Boden makes lands at TEGEN2, in the midst of the ongoing migration debate and the urgent questions of deportation.
Mapping Boden is an extension of the exhibition In the Past We Made History which will change name to Wipe All Traces and shown at Skissernas Museum in Lund 26/11 – 2026 – 2/5 – 2027 with new extended work, The Sixteen Seeds Library and A Geography of Violence.
Opening hours: 13–26 April (Tue–Fri 14:00–20:00, Sat 12:00–20:00, Sun 12:00–18:00).
Location: Erskine House, Slakthusområdet, Hallvägen 21, Stockholm.
Transport: Green Line 19 or the tram (Tvärbanan) to Globen.
