"Memories of Technicolor" is an ongoing work series exploring the family archive through VHS documentation and aesthetics. Moshtari Hilal’s self-portraits blend with familyportraits. It is an attempt to remember the early stages of her own past by way of reappropriating the unreliable and chaotic archive inherited despite the war and exile her family was exposed to. The artist’s family fled Afghanistan when she was only two years old, so her memories of their flight and her first years alive have become blurred or only exist secondhand. One approach she takes for this examination is her focus on her own family recordings from the1990s as well as some footage from trips to Kabul after theNato invasion in 2001. Hilal considers the video cassettes asa starting point for altering the originals and reconstructing them into three chapters: nostalgia, fragmentation, processing. Shown are a marriage, her 2nd birthday, a promotion, trips home, New Year's Eve celebrations, family visits and the reenactment of flight as a game played by children. In so doing, she opens up questions about how we engage with memories: do the perceptions of children correspond to those of adults? What factors shaped the recording? To what extent can videos portray the past, or do they themselves become memories? In (Memories) in Technicolor, the artist reveals her private reality and thus memories made in, and of, a past world tinted with the colours of a bygone technology.