Showing posts with label 2014. Show all posts
Showing posts with label 2014. Show all posts

Migrant's Monument - to be erected

public intervention, installation, debate

Salonul de Proiecte

July 2014



English translation of text on the plaque:

HERE SHALL BE ERECTED SOON
THE MIGRANT'S MONUMENT
DEDICATED TO ALL THOSE 
WHO HAVE CROSSED BORDERS
NATIONAL AND INTERNATIONAL.
IN THEIR HONOR, TO THOSE
WHO HAVE TRAVELLED, WORKED,
LOVED AND SUFFERED FAR
FROM HOME AND THEIR LOVED ONES.




Migrant's Monument, plaque, faux marble (gypsum), 90x72cm, 2014











Are there any more difficult to cross borders for Romanian citizens? The distant West seems to say that no, not now when the privilege to be part of the exclusive club of Europe has been de jure given to this population. Granting a considerable transborder mobility comes though with a price: the duty to contribute at the consolidation of the fortress Europe. The borders that shelter the so-called values of civilization stretch today to Romania and must be defended in the face of the eternal barbarian hordes.

Europe's imposed request by is not just a condition or a paternalist remark. It is an attempt to erase the recent memory of the suffering endured by those here, of all the humiliations of Romanian citizens of not being Christian, white or civilized enough. And to negate the continuation of these injustices today. The Migrant's Monument is the never realized promise of the celebration of this memory. Because the suffering, the humiliation but also the resistance and solidarity continue in the migrant context, as long as there will be national and international borders.

People of various ethnic backgrounds who circulate Europe and the world more easily than others because they posses Romanian citizenship, part of the EU, could have more in common with those coming from Cameroon, Vietnam, Syria or Peru. Difference and similarity do not reside in ethnic origin but in the role prescribed by the labor apparatus of the construction of the "European civilization". For all of the populations of these countries these are especially those of the caretaker, maid, the cook, builder and driver, waiter and babysitter. And, like these, Eastern Europe has not disappeared after 1989 but simply put in a place of invisibility.

The Migrant's Monument is an intervention in the field of the representation of national identities situated in the transformative context of migration. Seen as a solidarity message, the plaque carries both the impossibility of remembrance and honor by local authorities and the hope for collective dignity.

The figure of the foreigner (stranger) is central both to European identity and to national identities within the EU. Romanian citizens constitute for years a special category of foreigners for Western eyes: never sufficiently European, civilized or white. This representation is applied, although in a different measure to persons outside of European space that manage to arrive in Western Europe. Romania public space has taken up this representation, putting an apparent distance between the foreigner from Romania in the West and the non-European foreigner in Romania. But the two conditions are much more alike than apart.

This project seeks to explore such representations and the possibilities of transforming them with the aim of transborder solidarities.

In support of the Freedom March 2014!


Migrant's Monument consists out of three main elements:

1. The plaque, exhibited initially in the exhibition space and then installed at the Rahova International Bus Station on 11.06 (see below);

2. A reader containing a research on the representations of Romanian migrants in Western Europe, non-European migrants in Western Europe and non-European migrants in Romani;

3. A public debate: "Strangers across the borders and strangers within the borders", with Bashar Al-Kishawi, Simina Guga, Veda Popovici, David Schwartz on 22.06, Salonul de Proiecte.


















Inauguration of the plaque announcing the monument
Rahova International Bus Station, 11.06.2014
photo credits: Stefan Sava.










View of the installation in the bus station.








(Collective) Dignity and (the Rhetorics of) Belonging.

 A fragmented history of the production of national identity in arts and the cultural realm in Romania from the 70s up to now.


theory course at National University of Arts, Bucharest
academic year 2014-2015, MA level



Poster for the course, inspired by Revolutionary Romania (right) by C.D. Rosenthal (1848)


The strive for dignity and the need for belonging are arguably the most important elements that nationalism promises to satisfy, making them chief drives to be reclaimed for a more emancipatory politics. Nowadays, while nationalisms regain collective affects and reshape contemporary subjectivity all around the world, it has become a pressing issue to critically position oneself and start writing back the idea of the nation. 


Dignity and Belonging is precisely an intervention in this field of subjectivity production. It is however an intervention, which both theoretically and methodologically opposes any essentialism of the nation. In other words, in my approach I tend to regard nation and nationalism as continuous processes, as permanently re-enacted strategies within a tactical field of power, rather than as fixed or static identities.    

The course is based on the analysis of artists, artworks, exhibitions, art institutions as well as other cultural objects that have modulated the discourse on the nation in the Romanian context from the 70s nationalist shift of the Ceausescu regime until today. It also focuses on analyzing the hegemonic elements within the westernising effort of the local artistic canon in the given time-span in the context of recent exhibition projects about contemporary Eastern European art. Drawing from the work of de- and post-colonial scholars such as Mignolo, Balibar, Bhabba to nationalism studies personalities such as Anderson, Chatterjee and Verdery, the analytical framework is ascribed to the context of regional (Eastern European) and local (Romanian) collective identity representations. The invention of tradition, the East/West dichotomy, the function of the idea of Eastern Europe, the relation between the nation-state and global capital, the desire for and aura of the West or the potential of hibridity and a transnational horizon are just some of the reflections that will be developed in the course. 

Art, Culture and Gentrification.

Gazette of Political Art, #5
co-coordinator

march 2014


Issue 5 of the Gazette of Political Art addresses the relation between art and gentrification. You can browse the whole issue (in Romanian) below or download it here. A fragment (in English) of the article "Delivering the City into the Arms of Capital: Gentrification and the Harmlessness of Art in Bucharest" here.




Story of the Fall #3

Kunstraum Muenchen
29.01.2014


The third performance of the Story of the Fall took place in the frame of the performance series "Just what is it that makes today’s performances …".
This issue addressed feelings of identification of the participants as inhabitants of a Western city, Muenchen. Who is the Other, who is the We and how can radical imagination be enacted in that specific context are some of the questions raised.





Views of the performance. Photo credits (all three): Thomas Splett.





Pink, Violet and the Rest. Queering recent protests

Public debate, workshop, exhibition
part of LGBT History Month

Atelier 35

8.02 - 10.03 2014


In the past year we have went out to several protests, sometimes enthusiastically, other times just to help raise up the critical mass. Various causes, from saving Rosia Montana ad stopping shell gas exploiting to blocking the mediation law or the law for the so called euthanization of stray dogs have shown that the solidarity they all promote is an idea much more complicated to put in practice than it might seem. Maybe on some occasions we had to purposefully leave behind our pink (LGBTQIA) or purple (feminist) flags because they weren't that compatible with the rest of the actual or virtual flags to be found in the street. And maybe sometimes we left the flag home without being aware of it.

It’s time for queering the protests.

/////////////////////////

As a result of the workshop, the pink triangle was created. Continuing a history of positivising negative, opressive appeals in the frame of feminist and lgbtqia movements, the pink triangle is a direct reference to nazi camp denotation. By positivising the symbol, the collective gesture is meant to affirm a political identity at the intersection of radical feminist, lgbtqia and anti-authoritarian politics.


Comprised out of two elements: the public installation, visible from the windows of the gallery space and pink felt pins, used at the LGBTQIA Pride in Bucharest several months later.




Pink Triangle, felt, 1.6m each side. View of the installation.




Felt pins used at the Bucharest Pride several months later.





















Street view of the installation.

Dear Money, I know.

photography, 2013
comission for 'Dear Money' group show and publication
curated by Salonul de proiecte, Bucharest


With the rapacious corporate rush for Gold in Romania and beyond, we need to remember  what it all comes down to: plus-value. 
Dear Money - pink ten lei bill dedicated to the greatest Romanian painter and his brush - be good and behave, let yourself be devoured. We already know the latest scheme on art: it is the greatest commodity of all. 

Destroy Financialization. Reappropriate Gold. Save Rosia Montana.


































View from the exhibition. Viennafair 9-13 October ,2013.





 Publication. Photo credits: Stefan Sava / Salonul de Proiecte