New Program:
Supercut
Design: Ruslan Abasov
How does collective memory take shape around moving images when archiving is not possible—when material records cannot be preserved or physically conserved?
Taking this question as its point of departure, Salt’s long-term program Supercut approaches programming as a method of archiving, historiography, and memory construction. Centered on cinema and moving images, it explores how the blurred memory of both the recent and distant past is evoked, constructed, and reimagined through images.
The program is grounded in the idea that memory is shaped not only through preservation, but also through display and juxtaposition. From this perspective, a film records both the time of its making and the moment and context of its screening, along with the collective experience it creates.
Developed with the participation of archivists, researchers, curators, directors, critics, and academics, Supercut unfolds as a constellation of screenings, talks, exhibitions, research processes, and formats yet to be defined. Together, these elements evolve into a methodology informed by media archaeology that engages with historical and contemporary moving image practices.
Programmed by Gülce Özkara from Salt, the first installment of the series, Five Cuts, kicks off on April 4 with a conversation and screening.
Taking this question as its point of departure, Salt’s long-term program Supercut approaches programming as a method of archiving, historiography, and memory construction. Centered on cinema and moving images, it explores how the blurred memory of both the recent and distant past is evoked, constructed, and reimagined through images.
The program is grounded in the idea that memory is shaped not only through preservation, but also through display and juxtaposition. From this perspective, a film records both the time of its making and the moment and context of its screening, along with the collective experience it creates.
Developed with the participation of archivists, researchers, curators, directors, critics, and academics, Supercut unfolds as a constellation of screenings, talks, exhibitions, research processes, and formats yet to be defined. Together, these elements evolve into a methodology informed by media archaeology that engages with historical and contemporary moving image practices.
Programmed by Gülce Özkara from Salt, the first installment of the series, Five Cuts, kicks off on April 4 with a conversation and screening.
