The article reviews the latest iteration of Marco Scotini's Disobedience Archive, curated by Raqs Media Collective at the Migros Museum of Contemporary Art, Zürich. The exhibition features over 100 videoworks spanning artistic practice and political activism, organized under five canopylike structures inspired by the South Asian shamiana tent. These canopies divide the space into thematic chapters—'Archives in Revolt', 'Insurgent Communities', 'Diaspora Activism', 'Radical Ecologies', and 'Gender Disobedience'—housing 50 films, plus three additional works from the museum's collection. A sixth canopy serves as a gathering space for discussion. Key films include Sim Chi Yin's Requiem (Internationale, Goodbye Malaya) (2017) and Mohanad Yaqubi's R21 aka Restoring Solidarity (2022), alongside Graciela Carnevale's Archivio Tucumán Arde (1967–75/2014).
The exhibition matters because it challenges dominant Eurocentric modes of viewing by framing political images within culturally situated, ceremonial architecture. Raqs Media Collective's use of the shamiana interrupts the museum's traditional white-cube regime, prompting critical reflection on how looking itself has become a commodified labor under digital extractivism. By foregrounding collective memory, solidarity across distances, and the politics of attention, the show repositions the act of gathering as a radical political gesture. It underscores the ongoing relevance of art as a catalyst for reimagining social arrangements in an era of hyper attention and fragmented media consumption.