A series of 4 films, Kinshasa (2018), Shenzhen (2019), New York (2019) and Dakar (2018). The project explores the relationship between digital technology, cybernetics, colonialism and the reenchanted notion of a Non-Aligned Humanist Utopia.
The four films of Core Dump are rhizomatic assemblages of found footage, performance documentation and recorded interviews that form narrative portraits of the uncertainty in the nervous system of the digital earth. The films are fragmented arrangements of images and sounds, with each chapter forming links across geographic and temporal discontinuities.
The conceptual framework draws from audiovisual archives, and responds to the pan-African, Marxist utopias of early African cinema (specifically Ousmane Sembene’s films), and a range of writers and thinkers – from Donna Haraway, Sylvia Wynter and Louis Chude-Sokei to Gayatri Spivak, Franz Fanon, and Aimé Césaire.