In Bodies In Dissent (2021), Essi’s camera traces how performance histories migrate across time and preserve evidence of our lives.

How we carry the past “within ourselves, across generations, across histories, and across the Atlantic”

Blurb from the MoMA

Not everything needs to be archived; but the archival impulse also goes far beyond the realm of collection, capable of being deployed “as a set of shared curiosities, a local politics, or epistemological adventure.”[5] They draw on Rancière’s notion of the sentence-image[6] as a means of “thinking across” the “autonomy” of artistic practices,