“I am like one who wore his brick to show the world how was his home.” Bertolt Brecht
Often I was asked this question: how do I see myself as an artist? My answer has always been the same: I consider myself an immigrant worker. My job is to consider what it is to be an artist, when he feels different from in his own cultural context, even in his own role.With this necessity, this permanent need to think of exile, the project of the Exile Pavilion was born, as a traveling project, offering a parallel cartography, a free geography of temporary exhibitions, with stops in different countries. The project raises the question of the exile as a new space to be reinvented, to be rethought and finally to be invested. He wants to question both the global and specific links between various forms of displacement, whether the migrant worker’s situation, the expatriate, the refugee or the exile of war, natural disasters, economical problems, and political or racial persecutions.The Exile Pavilion wants to invest and cross all boundaries, revisiting the experiences of the exile and reactivate the traces in history. Where does the exile begin and where does it end? Are we all equal against the displacement and exile? And from who are we exiles?The Exile Pavilion does not exist as an architectural building even if the proposal is made for architects to imagine. But it is the works of artists, visual artists, musicians, poets, writers, performers they are exiles or their work deals with the displacement, which build together this protean and nomadic pavilion. Its journey will make layovers at artistic structures, institutions, ephemeral places, in the form of exhibitions, publications and meetings. At each stop, the works and archival materials are redesigned according to the place and its history.
Today or any day that phone may ring and bring good news.
Ethel Waters
Press
Another 7 days to discover Mounir Fatmi's Pavilion of Exile in Tangier, Tanger Experience, August 8th, 2017.
Stella, Berger, From exile I made glasses to see, Dyptik, n°35, Oct-Nov 2016, pp. 36-38.
Contact
Studio Fatmi Paris Phone and Fax: +33 (0)9 52 78 14 92
mounir fatmi fatmi.mounir@studiofatmi.com
Project Assistant Laura Pandolfo laura@studiofatmi.com
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Eduardo Kac
INNER TELESCOPE
Video, 12min
2017
Courtesy: the artist and Galerie Charlot Paris-Tel Aviv.
Eduardo Kac created a piece of art aboard the International Space Station, realized by French astronaut Thomas Pesquet following the artist’s instructions. Inner Telescope, was designed specifically for non-gravity environments and not for the Earth. The work was made with materials available in the space station. It consists of a form that has neither top nor bottom, neither front nor back. Viewed from a certain angle, it reveals the French word «MOI» [meaning “me”, or “myself”], standing for the collective self, evoking humanity; from another point of view one sees a human figure with its umbilical cord cut, representing our liberation from gravitational limits. Inner Telescope is an instrument of observation and poet- ic reflection, which leads us to rethink our relationship to the world and our position in the Universe.
About the artist
Born in 1962, in Rio de Janeiro, Eduardo Kac lives and works in USA. Kac is internationally recognized for his telepresence and bio art. A pioneer of telecommunications art in the pre-Web ‘80s, Eduardo Kac (pronounced “Katz”) emerged in the early ‘90s with his radical works combining telerobotics and living organisms. His visionary integration of robotics, biology and networking explores the fluidity of subject positions in the post-digital world. His work deals with issues that range from the mythopoetics of online experience (Uirapuru) to the cultural impact of biotechnology (Genesis); from the changing condition of memory in the digital age (Time Capsule) to distributed collective agency (Teleporting an Unknown State); from the problematic notion of the “exotic” (Rara Avis) to the creation of life and evolution (GFP Bunny).
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Courtesy: the artist and Galerie Charlot Paris-Tel Aviv.