“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
This website was designed by Untitled Duo
Nikos Charalambidis
MONUMENTS SHOULD NOT BE TRUSTED
Giant poster of variable dimensions
2013
Courtesy: Dvir Gallery, Tel Aviv and Keitelman Gallery, Bruxelles
Monument should not be trusted is a series of participatory exhibitions, forums, education- al workshops and parallel inter- disciplinary events that focuses on the ongoing civil conflict in Syria. The first show, Lidinos for Syria, was launched in 2011-12, over a period that public reactions against the war and its consequences, were yet minor. The current project of the series, entitled Philoxenia, comprises a wide range of activities that took shape after systematized visits and actions at numerous refugee camps. Based on the idea of the establishment of an emblematic refugee camp on the Acropolis in Athens, the project brings together artists, architects, anthropologists, sociologists and other specialized scientists with students coming mostly from universities of humanistic studies and architectural/art schools. Apart the Aegean Refugee Archive (A.R.A.), which collects optical material and any other kind of documents regarding the refugee crisis on the Greek islands, the Philoxenia Project, proceeds to a variety of actions in order to arise social awareness, like the edition of a series of giant posters against the decision of many countries to close their borders.
About the artist
Born in 1969 in Canada. He lives and works in Greece. He studied painting at the Academy of Fine Arts in Florence and continued his studies in sculpture at the Athens School of Fine Arts. He completed his postgraduate studies in Digital Art, and obtained a Master’s degree in Robotics. He has realised over fifteen one- man shows in Greece and other countries and participated in several international exhibitions, festivals, conferences and biennials. Charalambidis represented Cyprus at the 50th Venice Biennale of Art, as well as the 47th Venice Biennale of Art together with three other Cypriot artists.
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Courtesy: Dvir Gallery, Tel Aviv and Keitelman Gallery, Bruxelles