in-between and at the edge of other places—it sees Raqs experiment with new visual textures achieved through images that hover between past and present, found archival footage, and digitally and hand-drawn figures and topologies. The main protagonist is a bicyclist whose circular and repetitive journey invokes the un-chronology of a “non-year” bracketed by tumult on either side. Raqs excavate memory and anti-memory, and the mis-registrations that invariably occur when looking back from the present towards the not-so-distant past. By acknowledging the parallax that occurs when one looks at one time from another place, 1980 is recovered as a calendar seeded with possibilities. “There is,” the collective proposes, “a 1980 hidden in every year.”

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