Arkadi Zaides’s solo performance Archive (2014) focuses the Camera Project of B’Tselem (the Israeli Information Centre for Human Rights in the Occupied Territories), which distributes video cameras to Palestinians in high-conflict areas in the West Bank in order to provide an ongoing documentation of human rights violations. The film material to be presented in the performance shows Israelis only. The Palestinians stay behind their cameras—they seem to disappear, but are exiled in such a way that they are all the more there as and in the viewer’s perspective. Archive is all about the mode of disappearance as a paradox of archive practice and—as this text suggests—as paradoxical poetics and politics of art. By screening documentary material from the Camera Project, with the exact references to the images, the Israeli choreographer Zaides also comments and contaminates, infects, affects, afflicts, by the mere act of repetition, his own position. Zaides performs gestures, voices and movement sequences of soldiers and settlers, firstly simultaneously with the documentary clips and then separately. As isolated choreographic material, the gestures re-transform in an ongoing act of abstraction: as a critical pointing at the absence, they are disappointing any metaphysic of presence, activating an archive of gestures, focusing on the aesthetic and political potential for disappearance, pausing poses and positions—literal and figurative, ambiguous positions. In never repeating the same Archive repeats the difference itself. Deterritorializing the filmed act with his factuality to a mere movement, Zaides’ re-enactment problematizes referring in principle to an act of certainty, opening potentially for—as this text proposes—an intra-choreographic context (as in, for example, works by Rabih Mroué, Walid Raad, Jonathan Burrows, Matteo Fargion, Jan Ritsema, Jerômé Bel, Meg Stuart, Philipp Gehmacher, Xavier Le Roy). Zaides works on a liquidation of liquidity, on the problems of legibility and availability—explicitly in the breathless handheld-camera movement of the clips. Deconstruction procedures question here the cause–effect linearity of a hi/story. The anagrammatic principle of an ever-new arrangement of the material accumulates a collection of gestures into a collapse of a collective body, as a disappearing dance, dancing disappearance, resisting all too easy understanding: uneasy going instead of anything goes. Choreographic opacity becomes an appeal for withdrawal, nuance, shadow, disappearance, beyond neo-liberal forced transparency. Undoing positions again and again(st), re-membering the difference itself, Zaides and we as audience members, are apart from the situation and only thereby become a part of it.