Nephertiti Oboshie Schandorf

Set during a pandemic, the film tracks the movements of its central protagonist – The Wanderer, a young girl, on an intrepid journey across England. Presented across six chapters, including ‘The North’, ‘The Land of Smoke’ and ‘The Kingdom of the East’, this epic film builds a dialogue around the themes of class and economic exclusion, belonging and displacement, cultural heritage and the meaning of home.

The fourth film in the series, ‘Relic 3’ forms part of Relic Traveller: Phase 2, a multi-disciplinary project by Larry Achiampong, which manifests in performance, audio, moving image and prose. Centred within themes related to Sanko-time, Relic Traveller takes place across various landscapes and locations; the project builds upon a postcolonial perspective informed by technology, agency and the body, and narratives of migration.

The third film in the series, ‘Relic 2’ forms part of Relic Traveller: Phase 2, a multi-disciplinary project by Larry Achiampong, which manifests in performance, audio, moving image and prose. Centred within themes related to Sanko-time, Relic Traveller takes place across various landscapes and locations; the project builds upon a postcolonial perspective informed by technology, agency and the body, and narratives of migration.

The third film in the series, ‘Relic 2’ forms part of Relic Traveller: Phase 2, a multi-disciplinary project by Larry Achiampong, which manifests in performance, audio, moving image and prose. Centred within themes related to Sanko-time, Relic Traveller takes place across various landscapes and locations; the project builds upon a postcolonial perspective informed by technology, agency and the body, and narratives of migration.

The second film in the series, 'Relic 1' forms part of Larry Achiampong's Relic Traveller: Phase 1, a multi-disciplinary project manifesting in performance, audio, moving image and prose. Taking place across various landscapes and locations, the project builds upon a postcolonial perspective informed by technology, agency and the body, and narratives of migration. In the short film, a Relic Traveller is featured apparating sites across a seemingly desolate United Kingdom. Uncovering fragments of audible data presenting clue-like testimonies to a forgotten Empire, the Relic Traveller soon finds themselves in an atmosphere that simultaneously delivers poetic moments of the sublime met with increasingly harrowing claustrophobia and tales of trauma. Thus resulting in a familiar feeling of otherness, we are invited on a journey that embodies hysteria.

The first film in the series, 'Relic 0' forms part of Larry Achiampong's Relic Traveller: Phase 1, a multi-disciplinary project manifesting in performance, audio, moving image and prose. Taking place across various landscapes and locations, the project builds upon a postcolonial perspective informed by technology, agency and the body, and narratives of migration. Relic 0, which is the prelude to the series, is a short film that moves between African and Western based vistas and focuses on specific architectures of colonialism as delivered by an anonymous narrator. These discoveries deliver poetic moments of the sublime met with increasingly harrowing tales of trauma - speaking to the sinister way that states of anxiety, fear and displacement are both generated and policed in postcolonial society. The throb of the electronic score and ringing clarity of the narrator's testimony usher in a new landscape and temporality, born from cracks in a traumatised, apocalyptic present.

The first film in the series, 'Relic 0' forms part of Larry Achiampong's Relic Traveller: Phase 1, a multi-disciplinary project manifesting in performance, audio, moving image and prose. Taking place across various landscapes and locations, the project builds upon a postcolonial perspective informed by technology, agency and the body, and narratives of migration. Relic 0, which is the prelude to the series, is a short film that moves between African and Western based vistas and focuses on specific architectures of colonialism as delivered by an anonymous narrator. These discoveries deliver poetic moments of the sublime met with increasingly harrowing tales of trauma - speaking to the sinister way that states of anxiety, fear and displacement are both generated and policed in postcolonial society. The throb of the electronic score and ringing clarity of the narrator's testimony usher in a new landscape and temporality, born from cracks in a traumatised, apocalyptic present.