Sound & Vision
Sounds Familiar
Artist In Residence
2025-2026

Information



Tarona (b. 1985, Curaçao) is a visual artist and director working across film, photography and research. In her work, she examines how memory and knowledge are maintained and shared within the Black Diaspora. She investigates how this knowledge moves through gestures, places, times, and materials, rather than being fixed in language or narrative alone. She works across two registers: guided as much by intuition as by rigorous research, with feeling as a key part of her method.
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2026

26-10
26-09
26-08 26-07 26-06 26-05 26-04 26-03 26-02 26-01
Illusion / Transparency
Analyze / Create / Limit Archive - Sound
Process Notes
Behind The Traveler
Work In Progress
SFGR
Synopsis / Outline
Time Traveler Tetra Vision
The Last Angel Of History

2025
25-12 25-11 25-10 25-09 25-08 25-07 25-06 25-05 25-04 25-03 25-02 25-01
Time Traveler’s Device
Brainstorm
REMIX 2025
The opening
Transmission
Stuart Hall & Hip-Hop
Encylopedia
Copyright
Sound & Vision YouTube
Archival frequencies
Eugènie Herlaar
Language


Illusion / Transparency


Last week I received an email that 1/3 of the material I selected for the work I’m making might not be available to be used:

“The reason that these images have not been ‘flagged’ previously, is because they are not simply ‘blocked’, but difficult to license.”

“Sometimes broadcasters also use third-party material that they purchase on a one-time basis and include in their shows. This material then flows into our collection without further review because entire TV programs are archived. “

The reason why I keep thinking about it, is because I’m trying to figure out the illusion of transparency in the framework of an archive. I’m especially, and specifically, thinking a lot about how archives are only as transparent as the people holding them or ‘owning’ them allow them to be. I am aware of the limitations an archive poses as it keeps growing also, because the bigger it becomes, the bigger it becomes to maintain, the harder it becomes to reverse engineer a system that has already been established (in its entirety).

Also, I’m wondering how much work is being put into making clear to the viewer what is available and what is not. This means that somehow archives can always hold an element of surprise, with the frameworks set up by humans behind it as the driving mechanics. I was under the illusion that I was allowed to use materials as I wished and that it would be cleared (within limits of a specific budget). I find now, that as time progresses, there are more limitations, boundaries and breakdowns happening.

This effects the work process at large; it means I have to build the work multiple times because of incomplete or failing systems on the backend of the archive. Also, the ‘freedom’ is illusionary and the transparency only comes at the end, like the magician showing its tricks. I feel strange about this progress, even though I did set out with a mindset to build an ‘ideal’ work first and with the knowledge in the back of my mind that things might have to get switched out. This means, that in my intellectual knowledge, I find myself automatically distrusting of the process (or realities of it?) with anything relating to the archive, because archives of this size, tend to hold a  ‘hoarding’ energy, which I still perceive as negative. This energy is not friendly, and can even be perceived as hostile. It is my opinion, this perception can also scare a lot of folks off from working with archives. Archives to me sometimes feel like a giant beast eating itself and dragging everyones energy along with it who is looking at it in fear of being eaten with it. I’ll have a deeper think about this.

A couple of questions:
 - Why doesn’t all the material get further reviewed when archived?
- How can archives make it more clear beforehand that work will be difficult to license?
- Why initiate projects that require access and then deny / limit access?
- Who gives consent? The archive? Of the holder behind it?
- Why do limits exist within these frameworks? Why does ownership exist?
- What happens to ownership once works are transferred? Who sets these terms?
- Why is transparency so difficult for institutes to obtain / uphold? 
- Does a lack of transparancy function as a means to having a feeling of power?
- How can an archive service the searcher better, not just themselves?
- What is the intention of the archive (and those who hold / manage it?)

A couple of notes:
- Color coding to navigate archives.
- The archive in service of the searcher, not just the holder.
- The character of the backend reveals how an institute works.
- Fear culture being brought on by the character of the archive (and its holders)
- Control. Controlling behaviour is rooted in fear.
- Opaqueness. Difficult to see through or hard to understand.
- The archive as a hostile enviroment. 

That’s it!


Connective material
Source: Unknown
Source: Jakob Cervenka


Source: Bonsior Creative Studio
Source: Unknown



26-10
Text, Images
30-04-2026