Completing the map
#New_KKL (JNF) activists added names of KKL forests and the destroyed Palestinian Villages covered by them to the map at JNF building in center Tel Aviv.
La vidéo renvoie vers le site de l’association #Zochrot, où il est possible de voir une carte avec plein de points rouges, que j’imagine être les villages palestiniens détruits (mais vu qu’il n’y a pas de légende... ou au moins je ne l’ai pas trouvée... je ne suis pas sure) :
Peut-être qu’on peu la comparer à la carte qui est là:
▻https://seenthis.net/messages/917215
Sammy Baloji – interview: ‘I’m not interested in colonialism as a thing of the past, but in the continuation of that system’
▻https://www.studiointernational.com/index.php/sammy-baloji-im-not-interested-in-colonialism-as-a-thing-of-the
Sammy Baloji – interview: ‘I’m not interested in colonialism as a thing of the past, but in the continuation of that system’
The Brussels-based Congolese artist talks about the past and present of colonialism and mineral extraction in the context of his recent exhibition at Salzburg’s Stadtgalerie Museumspavillon, Salzburg Summer Academy
#néo-colonialisme #continuum #extractivisme #Sammy_Baloji #art #exposition
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How is history reflected in landscape? How does an object give evidence of its own transformations, and how do these become visible? Sammy Baloji’s exhibition in Salzburg enquires how history is inscribed in artefacts and landscapes. The exhibition shows traces left by mining in the province of #Katanga, rich in raw materials, in the Democratic Republic of #Congo. Starting from the exploitation of natural resources in this region, Baloji examines processes of abstraction and transformation. Geological maps become abstract compositions when separated from their legends. The habit of a mineral is no longer recognisable in its geometric form. Photographs of rugged landscapes give only an indirect suggestion of human bodies that have laboured there. Even copper shell casings can be unresistingly turned to decorative account as flower vases.
Thus the historical living conditions and work processes in the mining region are rendered invisible. The power exerted by global value-chains, operative here, is lost in perfectly alluring images and objects that negate their origin. The traces of mining in Salzburg are still clearly evident in the landscape and in the wealth of the town – though quite differently from those left in Katanga. Without suggesting direct parallels, the exhibition invites the viewer to take a close look at landscapes, and asks how images and objects operate as bearers of testimony.
ping @albertocampiphoto
What I found particularly interesting in this article is how Salmmy Baloji made art about copper mining in Katanga relevant for a city like Salzburg, thereby drawing connections between, what many believe to be, incomparable cities.
Karim Emile Bitar sur Twitter : "“Grâce à elle, les noirs ont enfin pu entrer par la grande porte dans la #littérature” #WTF ? À se demander si cette brave Muriel a jamais entendu parler d’Aimé Césaire, de James Baldwin, de Maya Angelou, de WEB Du Bois, de Richard Wright, de Senghor... C’est la Morano de #Macron !" / Twitter
▻https://twitter.com/karimbitar/status/1160182848592187392
La Cie Ru’elles est un collectif d’artistes et de chercheur.es qui souhaite surprendre, révéler l’invisible et questionner nos quotidiens In situ.
Ru’elles invite les passant-es à découvrir un #théâtre_déclencheur, bulle de dérision et de poésie, terrain fertile d’une #recherche-création par le #mouvement des #corps et la résonance des #voix.
Parce que la #rue est en proie au #conformisme et qu’il s’y joue des #rapports_de_domination, le collectif agit : les #identités de genre ou de classe et de couleurs sont analysées comme un ensemble de masques, de costumes et de gestes prescrits que chacun et chacune de nous répète avec minutie. Il importe de les détourner pour les questionner, de #rendre_visible l’#inégalité des rôles et de perturber les usages de nos #lieux_communs.
