Author(s)
Nina Støttrup Larsen
The video The Cut, The Punch, The Press (2021) is assembled from filmed fragments of a collection of 65 banknotes of the CFA franc, circulated between 1945–2021.
The video zooms in and pans over these banknotes, that all share images portraying recurring motifs of extraction sites such as palm oil harvesting, uranium mining, phosphate extraction, cotton production, and explicit French-owned assets in the region. The microprinted details double as both representation and security features, caught in a complex circulation between object and value, resources and currency.
The viewer is guided by a fictional dialogue between a numismatist and an accountant, while sounds from the printing facility in Chamalières signal the aspects of this production that are ongoing.
The Cut, The Punch, The Press (2021) is part of Mercurial Relations (2016–ongoing), a research project by Nina Støttrup Larsen revolving around the CFA franc monetary construction. The Cut, The Punch, The Press was originally commissioned by POST, Nijmegen for the exhibition Nucleus of Capital (2021), curated by Anna Bitkina.
More in this edition
The modern nation-state is supposed to be ethnically and culturally homogenous; after World War II, both Israel’s implementation of Zionism and Arab Nationalism adopted versions of this purism—purging and excluding from the body social what refuses assimilation.
As part of FORMER WEST: Documents, Constellations, Prospects, 18–24 March 2013 at Haus der Kulturen der Welt, Berlin, art critic, poet, and curator Ranjit Hoskote convened a forum on “Insurgent Cosmpolitanism” with cultural theorists and artists whose work addresses and performs the insurgent cosmopolitan condition.
Mariana Botey’s text The State Is Coagulated Blood and Bones is written as a prologue to Cooperativa Cráter Invertido’s codex-comic Sangre Coagulada y Huesos (Coagulated Blood and Bones, 2021). The two contributions have been conceived in collaboration and are to be read in parallel, allowing for a mutual disruption of discourse and image.
Long weaponized in the service of capital by the agents of neoliberalism, the nation-state is once again upheld as the bulwark of a white ethnos, securing privilege against migrants and immigrants, and against other nation-states in relations of neocolonial dependence.
From: New World Academy Reader #5: Stateless Democracy, Renée In der Maur and Jonas Staal in dialogue with Dilar Dirik, eds. (Utrecht: BAK basis voor actuele kunst, 2015), pp. 27–54
From: Once We Were Artists, Maria Hlavajova and Tom Holert, eds. (Utrecht: BAK, basis voor actuele kunst and Amsterdam: Valiz, 2017), pp. 32–52
In 1970–1971, Guyanese radical historian and anti-colonial activist Walter Rodney gave a series of lectures on the historiography of the Russian Revolution at University of Dar es Salaam, Tanzania. Inspired by C. L. R. James’s historical work on the October Revolution, Rodney set out to reveal the parallels between the problems confronting the postcolonial regimes in Ghana and Tanzania, and those that the Bolsheviks faced in building the Soviet state.
The video The Cut, The Punch, The Press (2021) is assembled from filmed fragments of a collection of 65 banknotes of the CFA franc, circulated between 1945–2021.
