During the module I was inspired by Katie Paterson's 'Future Library (2014-2114)', a project that has been designed so as that since 2014 and every year, a writer submits a text that will not be read or published until the year 2114 when a planted forest in Oslo, Norway will supply the paper.

This is a project that takes place long-term and assumes trust for its execution and completion. Further than this, it is a project that refers to the future generations, by not only gifting them a capsule containing the past, but also engaging them and asking them to actualize it.
Paterson will never see for herself if and how her project will be concluded, and neither will most of the writers, whose work will not be read until 2114.

Thinking ahead and long-term such as in this project, sparkles discussions about the responsibility we share in the present for the future generations but more specifically, the connections we wish to establish with them.

Inspired by Paterson, during the module I imagined and drafted a long-term project that would begin now and would have no ending date in the future. This project would be activated in time connecting all the future descendants of an individual with their ancestors. I would gather about 100 individuals who in collaboration with tattoo artists would design a tattoo that contained the story of their ancestors. Each individual's future descendant would then 'inherit' this tattoo indefinitely. Again, with the guidance of a tattoo artist, each would have to transform what they inherited, inform it with the recent ancestors, embody it and again pass it on. The idea is that the archive of the transgenerational transmission would in this way be an active physical archive, transforming in time, always in relation to the past, holding the passages to past and future connected and accessible. The tattoos are something I want to investigate further in the future as they have to do a lot with the construction of the identity, are acted upon skin and have an persistent character.

I will not elaborate on this further however, because I have decided to slightly change my hypothetical project since although conceptually my research is there, I want to bring in forward some important key points that are now missing. In my first hypothesis I talked about the tattoos because working with skin is a part of my research. As I mentioned above, I see the photos of my ancestors that I work with, as skin sites. This means that I am treating the surfaces of the printed paper as skin and therefore even the actions taken upon (gluing, tearing apart, sewing, layering, etc.) are in conjunction with actions taken upon the skin. In my first hypothesis, I speculated on a possibility of acting upon actual skin, as I wanted to explore what that could offer to the process of my research, but as I want to focus back on its main components, I will continue by specifically exploring the photographic archives.