For the third and final contribution to Contour Biennale 8, inhabitants has commissioned Adam Khalil and Zack Khalil in order to host an urgent reflection on indigenous sovereignty, the undead violence of museum archives, and post-mortem justice. 　　Filmmakers Adam and Zack Khalil, in collaboration with artist Jackson Polys, investigate the recent court case that decided the fate of the remains of a prehistoric Paleoamerican man found in Kennewick, Washington State in 1996. The case pitted the Umatilla people and other tribes, who wanted to provide a burial to the “Ancient One”, against two scientists—one of which from the publicly-funded Smithsonian Institute—who wanted to study the “Kennewick Man”. In order for the claim to fall under the Native American Graves Protection and Repatriation Act (NAGPRA) it became necessary to establish the lineage of these remains. This fight unleashed a controversy with groups attempting to establish white ancestry, and with this seeking to altogether undermine the indigenous sovereignty over land and ancestors and annul centuries of colonial violence. The evolving science of DNA and cranial morphology was grotesquely called in to testify to the purity of the bones’ ethnicity, where native claims to embodied knowledge of its origin had little means of addressing the court. Despite all of this, the Umatilla people and other tribes ultimately repatriated the “Ancient One” and he was reburied earlier this year in 2017. 　　Bios: 　　Adam Khalil and Zack Khalil (Ojibway) are filmmakers and artists from Sault Ste. Marie, Michigan and currently based in Brooklyn, New York. Their work subverts traditional forms of ethnography through humor, transgression, and innovative documentary practice. Their films and installations have been exhibited at the Museum of Modern Art, Walker Arts Center, e-flux, UnionDocs, and Microscope Gallery. 　　Jackson Polys is an artist who lives and works between what is currently called Alaska and New York. His work reflects examinations into the limits and viability of desires for indigenous growth. He began carving with his father, Tlingit artist Nathan Jackson, in high school, has worked as an artist based in Alaska as Stron Softi, with solo exhibitions at the Alaska State Museum and the Anchorage Museum, and holds an MFA in Visual Arts from Columbia University’s School of the Arts (2015).

For the third and final contribution to Contour Biennale 8, inhabitants has commissioned Adam Khalil and Zack Khalil in order to host an urgent reflection on indigenous sovereignty, the undead violence of museum archives, and post-mortem justice. 　　Filmmakers Adam and Zack Khalil, in collaboration with artist Jackson Polys, investigate the recent court case that decided the fate of the remains of a prehistoric Paleoamerican man found in Kennewick, Washington State in 1996. The case pitted the Umatilla people and other tribes, who wanted to provide a burial to the “Ancient One”, against two scientists—one of which from the publicly-funded Smithsonian Institute—who wanted to study the “Kennewick Man”. In order for the claim to fall under the Native American Graves Protection and Repatriation Act (NAGPRA) it became necessary to establish the lineage of these remains. This fight unleashed a controversy with groups attempting to establish white ancestry, and with this seeking to altogether undermine the indigenous sovereignty over land and ancestors and annul centuries of colonial violence. The evolving science of DNA and cranial morphology was grotesquely called in to testify to the purity of the bones’ ethnicity, where native claims to embodied knowledge of its origin had little means of addressing the court. Despite all of this, the Umatilla people and other tribes ultimately repatriated the “Ancient One” and he was reburied earlier this year in 2017. 　　Bios: 　　Adam Khalil and Zack Khalil (Ojibway) are filmmakers and artists from Sault Ste. Marie, Michigan and currently based in Brooklyn, New York. Their work subverts traditional forms of ethnography through humor, transgression, and innovative documentary practice. Their films and installations have been exhibited at the Museum of Modern Art, Walker Arts Center, e-flux, UnionDocs, and Microscope Gallery. 　　Jackson Polys is an artist who lives and works between what is currently called Alaska and New York. His work reflects examinations into the limits and viability of desires for indigenous growth. He began carving with his father, Tlingit artist Nathan Jackson, in high school, has worked as an artist based in Alaska as Stron Softi, with solo exhibitions at the Alaska State Museum and the Anchorage Museum, and holds an MFA in Visual Arts from Columbia University’s School of the Arts (2015).

The history of Niagara Falls and the people that made it famous.

A Short History of the Gaze is an experiential essay for Virtual Reality about the relationship between gaze and violence. 　　From the evolution of sight in a pre-cambrian sea creature to the dominance display of a primate, from a landscape of billboards begging for attention to an infinite panopticon, the player traverses and affects the virtual scenes by simply looking (or not looking) at things.

A Short History of the Gaze is an experiential essay for Virtual Reality about the relationship between gaze and violence. 　　From the evolution of sight in a pre-cambrian sea creature to the dominance display of a primate, from a landscape of billboards begging for attention to an infinite panopticon, the player traverses and affects the virtual scenes by simply looking (or not looking) at things.

After a series of bad relationships, a man orders a mail order bride and receives more than he bargained for.

After a series of bad relationships, a man orders a mail order bride and receives more than he bargained for.

In the last days of the Tokugawa shogunate, there was a cute warrior, Souji Okita, who belonged to the armed police of the shogunate in Kyoto. Very few knew that Souji was not a boy, but a woman. Souji loved the vice-leader of the armed police, Toshizou Hijikata. Souji suffered from pulmonary tuberculosis and coughed up blood during a battle. Toshizou helped her but said that he did not care for the girl with a smell of blood. Souji had a real talent for swordsmanship and no one but Ryouma Sakamoto could compete with her. Ryouma was a liberal intellectual and tried to carry out a revolution without blood. However, the bloody Meiji Restoration broke out and Souji killed Ryouma who lost his dream. Because a friendship had sprung up between Toshizou and Ryouma, Toshizou got angry and slashed at Souji with a sword. Unwillingly, she unsheathed her sword and thought that she might get love if she was killed by the man she loved.

A history of this vital underclothing, from the Jogbra invented by friends Lisa Lindahl, Hinda Miller and Polly Smith to its biggest moment -- Brandi Chastain's triumphant reveal after the United States won the 1999 World Cup.

An average family is thrust into the spotlight after the father commits a seemingly self-defense murder at his diner.