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AlternativeEconomieswasmadeinconversationwithherbalistRasheeqAhmadandfinancialservicesregulatorRachelBardiger.ThefilmdiscussestheimperialistexploitsoftheDisneycharacterScroogeMcDuck,andtheapparentlyradicalyetdeeplycompromisedpromisesofcryptocurrency.Betweenthesetwostrands,possibilitiesforanalternativenetworkofexchangeandsubsistencearesought. ConversationandcooperativemethodssitattheheartofartistandfilmmakerRehanaZaman’spractice.ThislatestworkwascommissionedfortheBoråsArtBiennial,whichconvenedaroundthetheme‘deeplistening’.Thefilmfeelsliketheclearestdistillationofalong-termandongoinginterest:thewayssocio-politicalconcernsnotonlyprovidecontent,butactivelystructuretheassemblyofanartwork.Inthefilm,disembodiedvoicesspeakaboutBitcoinasaspeculativealternativetoexistingbankingsystems.Lateracrypto-economicsresearcherwaxeslyricalaboutpeer-peerconnections.Whileoneofthespeakersdescribesitasa“pyramidscheme”,anotherresponds,“ifyouwanttolearnaboutit,you’vegottoownit.” Theseideasoffauxpromisesofcollectivityandcapitalistknowledgeexchangemeetwithasuddenflashofgreen.ThroughaseriesofconversationswithZaman,allbathedinsagetones,Ahmadsharestheirknowledgeofherbalmedicine.Thisgesturestotheongoingnessof“peertopeer”technologiesofsharing.Astheartistandtheherbalistsharetimeandstrainherbs,theyproduceatincture.Later,theydistributethemforfree.Theydothisviacommunity-ledspacesandgrassrootsactionsinsolidaritywithasylumseekersatNapierBarracks. Inayurvedicmedicine,greenisthecolourtocalmanxietyandstress.But,inthehyper-capitalistworldofScroogeMcDuck’s‘TrallaLa’,itisthebreakdowninducingthecolourofmoney.Theexcerptsofthecomicduckprovideanabsurdistvisualisationofthepossibilityofutopianbanking.But,theyalsoprovideanunarticulatedpersonalconnection.TrallaLawasconceivedbywriterCarlBankafterhereadanarticleontheHunzaRiverValleyinPakistan,intheOctober1953issueofNationalGeographic.ThissiteappearsinZaman’srecentworkYourEcstaticSelfwhichspeakstothepossibilitiesofreadingalternativeepistemologiesandkinshipstructures,againstthegrain. Morecoloursentertheframe,throughaseriesofdirectanimations.ThesewereproducedthroughacorrespondencebetweentheartistandanoldfriendJamesHolcombeatORWOfilmprocessing,connectedthroughthelegaciesofLFMC,no-wherefilmlabandnot-nowhereartistworkerscooperative. Ontopoftheseanimations,thegentledissentofafinancialservicesregulatorisofferedviavoicenote.Astheseconnectionsemerge,AliceColtrane’sharpbeginstoplay.Zaman’shandpaintedfilmdancesonthescreen.Itsformsmergeandseparate,unencumbered,freeandconstantlyinrelation.—JemmaDesai RehanaZamanisanartistfromHeckmondwikebasedinLondon.Herworkspeakstotheentanglementofpersonalexperienceandsociallife,wheremomentsofintimacyareframedagainstculturalorthodoxiesandstatecoercion.Conversationandcooperativemethodssitattheheartofherpractice. ShehasexhibitedwidelyintheUKandInternationally.PresentationsincludeBritishArtShow9(Touring),TrinitySquareVideo,Toronto(Solo),BoråsInternationalSculptureBiennial(Sweden),BerwickFilm&MediaArtsFestival;ArtistFilmInternationalWhitechapel,London,DhakaArtSummit,Bangladesh,BergenKunsthall,Norway;Kochi-MuzirisBiennale2018;SheffieldDoc/Fest;OberhausenFilmFestivalandSerpentineProjects,London,(forthcoming2022).In2019sheco-editedTongueswithTaylorLeMelle,publishedbyPSSandwasshortlistedfortheFilmLondonJarmanAward.Sheiscurrentlyaboardmemberofnot/nowhereartistworkerscooperativeandLUXwhoalsodistributeherfilms. Zaman’sfilmHowDoesanInvisibleBoyDisappearwasscreenedincollaborationwithLiverpoolBlackWomenFilmmakersatBFMAF2018,andhershortfilm5wasscreenedatBFMAF2015.