Disobedience Archive: Canopy for Broken Time
Shown at: Migros Museum für Gegenwartskunst, Zürich (2026)

With Canopy for Broken Time, we create spaces
of watching and listening, of reading and reverie, of shelter, within the Disobedience Archive.
In moments in which the pulse of the world feels uneven, we find rhythm again in proximity — in sharing air,
in the murmuring nearness of others who also think, dream, and dissent.

Disobedience Archive: Canopy for Broken Time is a landscape of gathering. Through a series of canopies, shelters, projections, embroidered textiles, acrylic structures, and light-based installations a space for watching, listening, reading, resting, and spending time with the archive was created.

The Disobedience Archive, here a selection of fifty films, unfolds as a mesh of political and lived realities.  Voices and gestures appear in shifting configurations, loosening the knot of a dominant narrative that holds us by the clock. It kept returning us to a question: how can time be experienced and depicted beyond the rigid structures of a world organised by a rigid idea of time?

Each canopy enters into dialogue with a different section of the Disobedience Archive. Spread across both floors of the museum, these structures act as sites of encounter, inviting visitors to linger among histories of revolt, insurgent communities, ecological struggles, diaspora activism, and gender disobedience. Each canopy forms a distinct presence while collectively holding an environment shaped by companionship and reflection.

Drawing on the tradition of the shamiana, the temporary canopy commonly used across South Asia for celebrations, assemblies, protests, ceremonies, and everyday gatherings, the installation considers the canopy as a form of provisional architecture; a shared space that brings people together while remaining open to movement and conversation in vulnerability and care.

In the present, where certainties are already dissolving, the archive opens up the possibilities of cracks within what is understood as the rational order of systems. The shamiana continues to be chosen as an architecture for these encounters. It is a space that inherently understands the “broken time” that was brought to the Migros Museum to hold these very conversation. Under its roof, what gathers here is a mosaic of shared life, where time is spent jointly, in attentiveness.