• Death by Rescue
    THE LETHAL EFFECTS OF THE EU’S POLICIES OF NON-ASSISTANCE AT SEA

    http://deathbyrescue.org

    The week commencing 12 April 2015 saw what is believed to be the largest loss of life at sea in the recent history of the Mediterranean. On 12 April, 400 people died when an overcrowded boat capsized due to its passengers’ excitement at the sight of platform supply vessels approaching to rescue them. Less than a week later, on 18 April, a similar incident took an even greater toll in human lives, leading the deadliest single shipwreck recorded by the United Nations’ High Commissioner for Refugees (UNHCR) in the Mediterranean. Over 800 people are believed to have died when a migrants’ vessel sank after a mis-manoeuvre led it to collide with a cargo ship that had approached to rescue its passengers. More than 1,200 lives were thus lost in a single week. As Médecins Sans Frontiers (MSF) commented at the time, these figures eerily resemble those of a war zone.

    The frantic tangle of Automatic Identification System (AIS) vessel tracks in the Mediterranean following the 18 April shipwreck. Credit: Forensic Oceanography. GIS analysis: Rossana Padeletti. Design: Samaneh Moafi.

    Beyond the huge death toll, what is most striking about these events is that they were not the result of the reluctance to carry out rescue operations, which has been identified as a structural cause of migrants’ deaths in the Mediterranean Sea. In these two cases, the actual loss of life has occurred during and partly through the rescue operation itself. The detailed reconstruction of these two successive tragedies provided in this report shows, however, that in all likelihood the merchant vessels involved complied with their legal obligations and did everything they possibly could to rescue the passengers in distress. While it could appear that only the ruthless smugglers who overcrowded the unseaworthy boats to the point of collapse are to blame, the report focuses on the deeper responsibilities of EU agencies and policy makers.

    REPORT
    http://deathbyrescue.org/report/narrative


    “About the report

    The following report, produced by Forensic Oceanography – a research team based within the Forensic Architecture agency at Goldsmiths (University of London) that specialises in the use forensic techniques and cartography to reconstruct cases of deaths at sea – in collaboration with WatchTheMed and in the framework of the ESRC-supported “Precarious Trajectories” research project, seeks to understand the conditions that made these events possible.

    It does so by mobilising a vast array of methodologies and techniques. First, the report offers, through a series of visualizations, diagrams and figures, a detailed spatio-temporal reconstruction of various cases of shipwrecks. This work was an exercise in the culling of disparate data that was eventually recombined in an effort to assemble a coherent spatial narrative of the chain of events. The reconstructions provided by the report are in fact based on numerous sources, in particular survivors’ testimonies, distress signals, Search and Rescue (SAR) reports provided by Frontex, Automatic Information System (AIS) vessel tracking data, judicial documents obtained from public prosecutors’ offices in Sicily investigating these cases, and photographs taken during the events by rescue teams. At times, elements of information were also extracted from secondary sources such as news reports and human rights reports by international organizations such as Amnesty International.

    The policy decisions that led to these shipwrecks, however, sought precisely to keep state-operated assets at a distance from the area in which these were occurring. Focusing exclusively on the reconstruction of the events, then, would not have allowed for an accurate description of the mechanisms of this form of killing by omission. Therefore, in addition to case reconstruction, the report undertook an analysis that could be characterized as a “policy forensics”. This consisted of a comprehensive textual analysis of various technical assessments produced by Frontex, official statements by policy makers and EU officials, minutes of operational meetings between Frontex and other member states agencies, and transcripts of debates in the European Parliament and in its Civil Liberties, Justice and Home Affairs (LIBE) committee. This endeavour was necessary, first of all, in order to gain a fine-grained understanding of the successive institutional steps that led to the retreat of state-led SAR operations. Secondly, it has allowed us to assess with precision the degree of knowledge concerning the risks to migrants’ lives the actors taking these decisions possessed. On this basis, the report points to the responsibility of the various agencies and individuals that took those decisions.

    Finally, the report seeks to attend to the materialisation of these policies at sea, in terms of: the operational zones, operational logics and practices of state actors; how these policy shifts affected the practices of other actors operating at sea, such as smugglers and merchant ships; and the conditions and danger of migrants’ crossings. Here key sources were: spatial analysis of operational zones; interviews with state officials (the Italian Coast Guard, Customs Police and Frontex) concerning their operations at sea; and statistical data referring to migrant arrivals, deaths and SAR operations.

    The diversity of sources and types of data required the report to draw upon the methodologies and expertise of a variety of disciplines. The material has thus been analysed in collaboration with experts in the relevant fields of geographic information science, vessel tracking technologies, image forensics, oceanography, statistical analysis, EU policy, international law and migration studies.”

    Un nouveau site

    Precarious Trajectories – Understanding the human cost of the migrant crisis in the central Mediterranean
    https://precarioustrajectories.wordpress.com

    Palermo Open City: From the Mediterranean Migrant Crisis to a Europe Without Borders? – Precarious Trajectories
    https://precarioustrajectories.wordpress.com/2016/03/21/palermo-open-city-from-the-mediterranean-migrant-c

    Leoluca Orlando is one of the longest lasting and most successful political leaders in post-war Italy. He has been elected mayor of Palermo – a city that was once the stronghold of the Sicilian mafia, no less than four times since 1985 – most recently in 2012 with over 70% of the popular vote. This despite campaigning to rid his city and region of what Orlando refers to as the plague of organized crime. A plague which nevertheless maintains its tenacious hold on important areas of economic, social and political life on the island.

    The walls of the Council Chamber in Palermo are studded with plaques to the memories of public servants, priests and ordinary citizens who have been murdered by the Mafia, including several of Orlando’s closest partners. Indeed, it was the murder of Piersanti Mattarella – the then-regional president of Sicily in 1980 – that obliged the young human rights lawyer to abandon a promising university career for the highly dangerous vocation of public office. Piersanti’s brother Sergio is currently the President of the Italian Republic and remains a close friend and confidant of Palermo’s outspoken mayor.

    Now aged 68 and three years into what may well be his final mandate, Orlando is fired with a new mission – that of restoring Palermo to its historical primacy as the cradle of a cosmopolitan “Arab-Norman” Mediterranean culture. “The city of Palermo is not a Mediterranean city,” argues Orlando, “it is a Middle Eastern city in Europe” that shares as much in common with Beirut and Djibouti as with Rome or Hamburg.

    @cdb_77

  • New citizen-led digital tool maps conflict and crisis as it unfolds
    Crime & Law, Digital, Human Rights, Migration, Visual, Visual Cultures

    Goldsmiths, University of London

    http://www.gold.ac.uk/news/pattrn

    Researchers from Goldsmiths, University of London have launched a new multimedia digital tool for journalists, researchers, human rights monitors, and citizens in a digital age to map complex events – such as conflicts, protests, or crises – as they develop.

    #goldsmiths

  • Refugee and asylum seeker scholarships, Goldsmiths, University of London

    http://www.gold.ac.uk/news/refugee-and-asylum-seeker-scholarships

    Worth more than £140,000 a year in total, the scholarships are being offered to three undergraduate students and three postgraduate students.

    Under the funding the full-time students’ teaching and accommodation fees will be waived. They will also receive maintenance bursaries of up to £10,000 a year – marking a significant increase in Goldsmiths’ funding for those affected by events in the Middle East, Africa and Europe.

    The scholarships will be split between Goldsmiths’ three academic Schools, with one undergraduate and one postgraduate from each School chosen to receive the help.

    #migrations #réfugiés #recherche

  • Goldsmiths Institute, Londres, mai 2014 : à la sortie d’une conférence, vu par hasard au détour d’un couloir pas trop fréquenté une émouvante et magnifique exposition de photo :

    « l’espace et le regard », conversations avec Jean Mohr et Edward Saïd en Palestine.

    Nirmal Puwar, professeur à Goldsmith écrit à propos de cette expo :

    Edward Saïd était un grand admirateur du travail que faisait jean Mohr avec John Berger. En 1983, alors qu’Edward Said travaillait comme consultant pour les Nations unies, il suggéra que Jean Mohr photographie la vie quotidienne en Palestine dans l’idée d’organiser ensuite une exposition pour une conférence à Genève. L’ONU accepta la proposition, mais demandait en même temps qu’il n’y ait aucun texte qui accompagne les photos, à part les dates et les lieux des prises de vue...

    Saïd et Mohr décidèrent alors de transgresser l’interdiction, et de travailler ensemble en « pleine interraction » (comme l’a formulé saïd lui même) : Saïd en tant que Palestinien souffrant de son exil, et Mohr comme photographe témoignant de la vie palestinienne d’une manière « non conventionnelle, hybride et fragmentaire ». Ils avaient alors baptisé l’exposition « Après le dernier ciel », et un livre fût publié en 1986.

    Lorsque je suis rentré en contact avec Jean Mohr pour lui demander s’il était possible d’utiliser les clichés pour une exposition dans les locaux du Goldsmiths Institute, voici ce qu’il m’a répondu : "Le musée de la croix rouge et du croissant rouge possède un exemplaire de l’exposition, mais les photos sont dans un très mauvais état. Vous trouverez un deuxième exemplaire de l’expo à Jérusalem, et un troisième à Bruxelles, mais là encore, les images sont tellement dégradées qu’elles sont, je crois, inutilisables. Il faudrait faire de nouveaux tirages. Et oui, une expo à Goldsmiths serait une initiative formidable"

    Jean Mohr nous a donc envoyé les fichiers des images, et nous avons décidé de les présenter côte à côte avec les textes d’Edward Saïd tirés du livre « Après le dernier ciel », ce qu’avait interdit l’ONU... Ainsi s’égraine au cours de l’exposition ds histoires de diaspora, de frontières, de déplacements forcés, de travail, de migrations.

    Depuis les années 1980 et l’implacable oeuvre de dépossession et de colonisation, beaucoup des lieux photographiés par Mohr ont été détruit et/ou renommés.

    https://dl.dropbox.com/s/hxhbsqrcl27b1gk/mohr1.jpg

    https://dl.dropbox.com/s/f3qrnw3463q3txu/text1.jpg

    https://dl.dropbox.com/s/fdce5fbj24uh5fy/mohr2.jpg

    https://dl.dropbox.com/s/5b7bcefx86evdvw/text2.jpg

    https://dl.dropbox.com/s/wolty5p6zimx3ym/mohr3.jpg

    https://dl.dropbox.com/s/jfe3o2sv4yl6d6m/text3.jpg

    https://dl.dropbox.com/s/kqponngjvaonixz/mohr4.jpg

    https://dl.dropbox.com/s/jhunj5u4ext3ffa/text4.jpg

    https://dl.dropbox.com/s/70i69t33fntg2z3/mohr5.jpg

    https://dl.dropbox.com/s/wdwaonisa10sxcx/text%205.jpg

    https://dl.dropbox.com/s/lz03mknfi18npfw/mohr6.jpg

    #palestine #occupation #colonisation #photographie #jean_mohr #edward_said

    • Il y a une présentation en anglais de l’expo ici http://www.gold.ac.uk/methods-lab

      Mais je ne sais pas s’il y a des références sur l’expo complète qui a circulé un peu partout en Europe. En anglais, l’expo s’appelle « SPACE & GAZE ». Il n’y a à Goldsmiths, hélas, qu’une petite partie de l’expo. Le titre anglais du livre est « After the Last Sky ». ça peut peut-être aider...

    • Events: Representing Dispossession (presentation) and Space & Gaze: Conversations with Jean Mohr and Edward Said (exhibition) | Refugee Archives UEL

      http://refugeearchives.wordpress.com/2014/01/27/events-representing-dispossession-presentation-and-space-

      BRENNA BHANDAR + ALBERTO TOSCANO

      Tues 28th Jan 2014, 5-7pm, RHB 143, Goldsmiths, SE14 6NW

      ‘After the Last Sky’ was conceived as an effort to redress the fact that, as Said put it, ‘to most people Palestinians have been visible as fighters, terrorists and lawless pariahs’. Negatively ‘over-represented’, yet in crucial respects invisible, the Palestinian experience of dispossession is here restored to its lived complexity, not allowing the violence of occupation to saturate the field of vision and blot out everyday life. In this presentation, we want to reflect on how, more than a quarter century after its publication, Said and Mohr’s collaboration can serve as a potent resource in addressing the politics and aesthetics of representing dispossession.

    • La présentation de l’intervention de Jean Mohr à Goldsmiths en Mars 2014.

      Jean Mohr at Goldsmiths

      https://dl.dropbox.com/s/mgrnlfkctg3lw5b/mohr7.jpg

      « The photographer photographed » @Jean Mohr, Jerusalem, 1979.

      Edward is still with us: Jean Mohr reflects on Edward Said in Palestine & After the Last Sky

      Thurs 27th March 2014 5-7pm, inc. drinks reception with exhibition viewing.

      Small Hall, Richard Hoggart Building, Goldsmiths, Lewisham Way. New Cross SE14 6NW

      Free & Open Public Event, marking 50 years of Sociology at Goldsmiths.

      In this public conversation, Jean Mohr will reflect on his collaboration with Edward Said on After the Last Sky, as well as on his wider oeuvre of work.

      After the Last Sky came about after Jean Mohr was commissioned by the UN, on Edward Said’s recommendation, to take photos of some of the key sites in which Palestinians lived their lives. Because the UN allowed only minimal text (the names of places) to accompany the photographs, Said and Mohr decided to work together on an ’interplay’, as Said put it, of Said’s personal account of Palestinian suffering and exile and Mohr’s photographs – ’an unconventional, hybrid, and fragmentary [form] of expression’ - which they called After the Last Sky (1986). The Space and Gaze exhibition at Goldsmiths (September 2013 – July 2014) brings Mohr’s images and Said’s text from this seminal book together for the first time. Working against the grain of speeded up short durations in gallery spaces and the cultural sector more widely, we have chosen to live and converse with the images and texts for the longer duration of an academic year. Against the grain of the corporatization of the academy, the exhibition claims the space for an alternative writing on the walls of the university.

      This is Jean Mohr’s second exhibition at Goldsmiths. His first, which was held in the 1970s, was titled Two portraits and a Story, and consisted of photographs of peasants in Haute Savoie, France. He is well-known for his many collaborations with John Berger, which include A Fortunate Man (1967), Art & Revolution (1969), A Seventh Man (1975), Another Way of Telling (1995) and John by Jean: fifty years of friendship (2014). More than 80 exhibitions have been dedicated to his photographic work worldwide. He has worked for numerous international organisations (UNHCR, ILO, JDC) and was ICRC delegate for the Middle East 1949-1950. In 1978 he was awarded the prize for the photographer who had contributed the most to the cause of human rights. Speaking of his position as a photographer he has stated: ’If I see a child drowning I can’t take a picture of the scene. I can lend a hand or grab a stick to remove the child.’ He has an interest in theatre and his large body of work also includes plasticine photography, usually in colour, as a reflection of formal experimentations in the art field.

      This is the Annual Methods Lab Lecture.

      To view the exhibition SPACE & GAZE: Conversations with Jean Mohr & Edward Said in Palestine visit the Kingsway Corridor at Goldsmiths, Richard Hoggart Building, University of London, Lewisham Way, New Cross. SE14 6NW. Times: on until July 2014, Mon-Sat 8am-9pm, Sun 9.30am-6pm. Free.

      http://www.gold.ac.uk/methods-lab

    • Jean Mohr a aussi fait un travail photographique sur #Camarada, centre d’accueil et de formations pour femmes migrantes...
      Bientôt un billet sur @visionscarto sur Camarada, n’est-ce pas, @reka ?

      Exposition de photographies
      Cette exposition est mise en place par le service de la communication audiovisuelle (HETS-savi) de la Haute école de travail social de Genève en collaboration avec l’Association Camarada qui fête, cette année, ses 25 ans d’existence. C’est dans le cadre des divers évènements organisés pour cet anniversaire que le savi a apporté sa contribution dans le cadre de ses prestations de services.

      Après un passage à La Comédie de Genève, cette exposition de photographies Camarada – Planète femmes aura lieu dans l’« Espace Galerie » de notre site de formation HES, du 28 avril au 30 mai. Cet espace sera donc réservé au magnifique travail photographique de Jean Mohr durant cette période. Ce sera également l’occasion pour les enseignant-e-s d’apporter des contributions aux étudiant-e-s, de favoriser des échanges dans divers modules de cours HES autour du thème de l’intégration des migrant-e-s en Suisse et en Europe (près d’un million et demi d’étranger-e-s vivent en Suisse, soit 21 % de la population).

      Texte de Jean Mohr pour cette exposition :

      D’une part, il y a des femmes en provenance des quatre coins du monde, avec un point commun : elles se retrouvent à Genève, un peu perdues, piégées en quelque sorte, avec des problèmes de langue et de coutumes locales.
      D’autre part, des femmes, souvent bénévoles, qui vivent et travaillent dans cette cité à la fois calviniste et internationale, et qui ont pris la décision un jour de venir en aide à ces migrantes en leur consacrant une partie de leur temps.
      Et cela, en dehors de tout cadre politique ou religieux.
      C’est ça le petit miracle « Camarada ».
      Pour fêter le 25ème anniversaire de cette « institution », on m’a invité à réaliser un reportage photographique sur cette rencontre entre deux mondes, apparemment antinomiques.
      Plaidait en ma faveur :
      • mon âge respectable (figure du père)
      • mon enfance à Genève en qualité d’étranger (bien que natif de la ville)
      • mon parcours professionnel qui m’a permis de connaître la plupart des pays dont sont originaires les femmes du Centre.
      C’est avec beaucoup de plaisir que j’ai réalisé ce reportage photographique, à la fois comme témoin et comme complice. –– Jean Mohr

      Le livre « planète femmes » tiré de l’expo :

      http://jeanmohr.ch/blog/8-camarada-planete-femmes