tag:blogger.com,1999:blog-86065051173191774662024-03-05T08:01:16.639+00:00MOVING BORDERS: Migration and the Aesthetics of SubversionThis is a weblog of my work and interest in cultures of migrationFederica Mazzarahttp://www.blogger.com/profile/14836667896648615035noreply@blogger.comBlogger145125tag:blogger.com,1999:blog-8606505117319177466.post-43986875674402085472019-05-02T12:29:00.000+01:002019-05-02T12:29:39.232+01:00Symposium on Death at Sea: Migration and Art<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib8-JGhHlUAbc0YodtiQWupyTM6n45Nqku_CiNUAjpoo-t5nVCN4i_J8Y1rftBOMDh7oe_SmIjioohUK88xZTh4SQKkYkQdYQv6O7-SAVVbAwaNGg59nN8ioEQvUdyEoLTSDlAUzNLle9V/s1600/Screen+Shot+2019-05-02+at+12.28.29.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="652" data-original-width="1600" height="162" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib8-JGhHlUAbc0YodtiQWupyTM6n45Nqku_CiNUAjpoo-t5nVCN4i_J8Y1rftBOMDh7oe_SmIjioohUK88xZTh4SQKkYkQdYQv6O7-SAVVbAwaNGg59nN8ioEQvUdyEoLTSDlAUzNLle9V/s400/Screen+Shot+2019-05-02+at+12.28.29.png" width="400" /></a></div>
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<span style="font-size: large;">You can now <a href="https://www.eventbrite.co.uk/e/symposium-deaths-at-sea-migration-and-art-tickets-59634477327?aff=ebdssbdestsearch">book your ticket</a> for the Symposium on <b>Death at Sea: Migration and Art</b> sponsored by the University of Westminster, and part of the exhibition <a href="https://www.sinkwithouttrace.com/">Sink Without Trace</a>.</span><br />
<span style="font-size: large;">Looking forward to seeing you there. </span>Federica Mazzarahttp://www.blogger.com/profile/14836667896648615035noreply@blogger.com1tag:blogger.com,1999:blog-8606505117319177466.post-84346916951667178982019-05-02T12:22:00.002+01:002019-05-02T12:22:20.936+01:00Book Launch_Reframing Migration 13 June 2019 P21 Gallery London<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOQ3ycx8oT4cCLJbJKG_yItu0D5zb7UJuyCYrY5d5iOkFAMrXmJ9pTPIbRt9Ag9BwG0zd5liZPlpg9dIvrAveNUoQiz84PstQr6BJar5Q4wD3YGCfCyOQePNO_GYbLy-T8tzkWK7k8xTGW/s1600/Isaac+Julien_cover+book.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="906" data-original-width="1600" height="181" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOQ3ycx8oT4cCLJbJKG_yItu0D5zb7UJuyCYrY5d5iOkFAMrXmJ9pTPIbRt9Ag9BwG0zd5liZPlpg9dIvrAveNUoQiz84PstQr6BJar5Q4wD3YGCfCyOQePNO_GYbLy-T8tzkWK7k8xTGW/s320/Isaac+Julien_cover+book.jpg" width="320" /></a><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Dear all,</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">You can now <a href="https://www.eventbrite.co.uk/e/book-launch-nikolaj-skyum-bendix-larsen-federica-mazzara-in-conversation-with-vicki-squire-tickets-59634262685?aff=ebapi">register</a> to attend the book launch of my book.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Looking forward to seeing you there.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The launch is part of the exhibition, <a href="https://www.sinkwithouttrace.com/">Sink Without Trace: An Exhibition on Migrant Death at Sea</a></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Federica</span>Federica Mazzarahttp://www.blogger.com/profile/14836667896648615035noreply@blogger.com0tag:blogger.com,1999:blog-8606505117319177466.post-5315541207824930952019-02-24T11:10:00.003+00:002019-02-24T11:12:24.035+00:00Sink Without Trace_Exhibition on Migrant Death at SeaDear all,<br />
I can finally share with you the information about the exhibition I am co-curating on the topical issue of migrant death at sea.<br />
You can find all information about our exhibition <a href="https://www.sinkwithouttrace.com/">here</a>.<br />
We are also working on a series of related events. Information will be included in the website. So stay tuned and plan your visit to London.<br />
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<br />Federica Mazzarahttp://www.blogger.com/profile/14836667896648615035noreply@blogger.com021 Chalton St, Kings Cross, London NW1 1JD, UK51.5289165 -0.1294659999999794351.2128025 -0.77491299999997942 51.8450305 0.51598100000002056tag:blogger.com,1999:blog-8606505117319177466.post-1690377731452368582019-02-24T11:06:00.000+00:002019-02-24T11:13:31.166+00:00My book is out_Reframing Migration: Lampedusa, Border Spectacle and Aesthetics of SubversionDear all,<br />
I am delighted to announce the publication of my book, <i>Reframing Migration: Lampedusa, Border Spectacle and Aesthetics of Subversion. </i>The book launch will be in June. Check this space.<br />
You can find more information <a href="http://reframing migration peter lang">here</a>.<br />
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<br />Federica Mazzarahttp://www.blogger.com/profile/14836667896648615035noreply@blogger.com0tag:blogger.com,1999:blog-8606505117319177466.post-28005423928488050372019-02-24T10:52:00.002+00:002019-02-24T10:59:26.439+00:00Difference Festival - University of Westminster 25 February-1 March<div style="box-sizing: border-box; caret-color: rgb(51, 51, 51); color: #333333; line-height: 16px; margin-bottom: 16px; padding: 0px;">
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<span style="background-color: #990000; font-family: "trebuchet ms" , sans-serif;"> Difference Festival is a week-long celebration honouring the history and roots of our institution whilst showcasing the work of staff, students, alumni and friends of the University of Westminster.</span></div>
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<span style="background-color: #990000; font-family: "trebuchet ms" , sans-serif;">This year the Difference Festival focuses on the term 'radical', taking in ideas from our history and ethos to today's social, political and cultural concerns.</span></div>
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<span style="background-color: #990000; font-family: "trebuchet ms" , sans-serif;">The University of Westminster has always been different. In 1838 The Polytechnic Institution in Regent Street was established to 'delight as well as to instruct' and was described as 'an intellectual treat'. Our predecessors created a place where the public could explore new ideas, discover new inventions, acquire new knowledge and learn new skills. We strive to continue those ambitions and to make a difference, embodying the link between theory and practice and changing the world for good.</span></div>
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<span style="background-color: #990000; font-family: "trebuchet ms" , sans-serif;">Come and be delighted and instructed by our researchers and their guests, treat your intellect with lunchtime and evening talks, walks, workshops, film screenings and discussions. </span></div>
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<span style="background-color: #990000; font-family: "trebuchet ms" , sans-serif;">More information about the Festival <a href="https://www.westminster.ac.uk/news-and-events/events/difference-festival">here</a></span></div>
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<span style="background-color: #990000; font-family: "trebuchet ms" , sans-serif;">Within the dDifference Festival I have organised the event </span></div>
<span style="background-color: white; font-family: "trebuchet ms" , sans-serif;"><b style="background-color: #990000;">Radical film: voyeurism in documentary filmmaking on migration</b></span><br />
<span style="background-color: white; font-family: "trebuchet ms" , sans-serif;">about which you can read (and register) <a href="https://www.eventbrite.co.uk/e/difference-festival-radical-film-voyeurism-in-documentary-filmmaking-on-migration-tickets-55160528626">here</a></span>Federica Mazzarahttp://www.blogger.com/profile/14836667896648615035noreply@blogger.com0309 Regent St, Marylebone, London W1B 2HT, UK51.5168455 -0.1428237999999737425.994811000000002 -41.451417799999973 77.03888 41.165770200000026tag:blogger.com,1999:blog-8606505117319177466.post-1379392021493163202018-06-05T15:04:00.002+01:002018-06-05T15:05:23.471+01:00Special Issue-Call for papers "Arts and Refugees: Multidisciplinary Perspectives"._ 15 October 2018<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMLxz1QhwCC-YrhUtkCRxMCLfqtDys1zNrhhK2JHuNhJMHlLqgq8aTdRwkdWwBDfbAQn9r0N85_p_IZMXFmx42kv418p29HHJchY0QjfeWV3WJxiDy7WXepQEayCOcY3oosC3iWoW2urhh/s1600/Screen+Shot+2018-06-05+at+15.04.22.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="872" data-original-width="1600" height="174" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMLxz1QhwCC-YrhUtkCRxMCLfqtDys1zNrhhK2JHuNhJMHlLqgq8aTdRwkdWwBDfbAQn9r0N85_p_IZMXFmx42kv418p29HHJchY0QjfeWV3WJxiDy7WXepQEayCOcY3oosC3iWoW2urhh/s320/Screen+Shot+2018-06-05+at+15.04.22.png" width="320" /></a></div>
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All information available <a href="http://www.mdpi.com/journal/arts/special_issues/arts_refugees">here</a>Federica Mazzarahttp://www.blogger.com/profile/14836667896648615035noreply@blogger.com0tag:blogger.com,1999:blog-8606505117319177466.post-10287809907935822372018-06-05T14:57:00.002+01:002018-06-05T14:58:19.173+01:00Migration Mobility Borders Summer Institute-Trento 25 August-1 September 2018<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNPIC4Q_I0ZFjafHnORxjKeCRU5nKQnzGpBXpGzaosjQd-31ExuAus-X_C7ZjiRd71KjNHRjYPnAopG8qs0DT7_MArTdIVEEVNciQdBPaNLMm7_7CCVR2vMjJWI5eUnJyB3bwEU6XZmgNN/s1600/Screen+Shot+2018-06-05+at+14.55.38.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="861" data-original-width="1600" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNPIC4Q_I0ZFjafHnORxjKeCRU5nKQnzGpBXpGzaosjQd-31ExuAus-X_C7ZjiRd71KjNHRjYPnAopG8qs0DT7_MArTdIVEEVNciQdBPaNLMm7_7CCVR2vMjJWI5eUnJyB3bwEU6XZmgNN/s400/Screen+Shot+2018-06-05+at+14.55.38.png" width="400" /></a></div>
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For more information click <a href="http://www.uwindsor.ca/sociology/174/migration-mobility-and-borders-summer-institute">here</a>Federica Mazzarahttp://www.blogger.com/profile/14836667896648615035noreply@blogger.com0tag:blogger.com,1999:blog-8606505117319177466.post-52844324038629572682018-05-08T13:06:00.000+01:002018-05-08T13:07:45.690+01:00Border Lampedusa edited volume by Gabriele Proglio and Laura Odasso (2018)<span style="font-family: "arial" , "helvetica" , sans-serif;">Check the <a href="https://www.palgrave.com/gp/book/9783319593296">latest publication</a> on Lampedusa, migration and cultural expressions. I have contributed with a chapter on 'Object, Debris, Debris and Memory of the Mediterranean Passage: Porto M in Lampedusa'.</span>Federica Mazzarahttp://www.blogger.com/profile/14836667896648615035noreply@blogger.com0tag:blogger.com,1999:blog-8606505117319177466.post-13399710054187247742018-03-24T22:46:00.000+00:002018-03-24T22:47:19.071+00:00Moving Hearts - Migration Museum at the Workshop London 25 March 2018<span style="background-color: white; color: #1d2129; font-family: "sf optimized" , , , "blinkmacsystemfont" , ".sfnstext-regular" , sans-serif; font-size: 14px; letter-spacing: -0.12px;">Powerful installation by Australian artist Penny Ryan with clay human hearts made by hundreds of Londoners with messages for refugees. There's time till tomorrow to see it. Don't miss it!</span><br />
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<br />Federica Mazzarahttp://www.blogger.com/profile/14836667896648615035noreply@blogger.com0tag:blogger.com,1999:blog-8606505117319177466.post-5484349704617773292018-02-05T17:09:00.003+00:002018-02-05T17:10:20.778+00:00Reframe Migration: From the Border Spectacle to the Aesthetics of Subversion_King's College 5 Feb 2018Dear all,<br />
I am giving a talk tonight at King's College on my research. All details in the picture attached. Hope to see you there.<br />
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<br />Federica Mazzarahttp://www.blogger.com/profile/14836667896648615035noreply@blogger.com0tag:blogger.com,1999:blog-8606505117319177466.post-75721690786124267412017-10-04T08:50:00.002+01:002017-10-04T08:51:57.802+01:00Call for paper_`Special Issue The Journal of Ethnic and Migration Studies <div style="-webkit-text-stroke-color: rgb(33, 33, 33); -webkit-text-stroke-width: initial; background-color: white; color: #212121; font-family: Times; font-size: 13.3px; font-stretch: normal; line-height: normal;">
<span style="font-kerning: none;">Special Issue Call for Papers on</span></div>
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<span style="font-kerning: none;">AFFECT AND MIGRATION</span></div>
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<span style="font-kerning: none;">Deadline: 13th of October 2017</span></div>
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<span style="font-kerning: none;">We invite papers for a special issue of The Journal of Ethnic and Migration Studies (JEMS) exploring the relationship between affect and migration. Please pass this CfP through your networks to anyone you feel might be interested in contributing.</span></div>
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<span style="font-kerning: none;">We live in an area of increasing securitisation and border regimes. Everyday bordering has become a major technology of control (Yuval-Davis, Wemyss & Cassidy, 2017). These bordering practices impact the everyday lives of many migrants that live within the EU. At the same time, various forms of resistance have developed in the everyday - in activist and solidarity spaces, camps, art and research - which challenge and contests these increasingly violent and invasive practices.</span></div>
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<span style="font-kerning: none;">This special issue will explore the affective dimension of migration. The motivation for this collection is the growing volume of academic work focusing on affective complexities that emphasise the need for research to attend to the world as messy (Law, 2004), sensory and affective (Stewart, 2007; Coleman, 2013, McManus, 2013). Moreover, our own research, and experience as activists, has shown us the importance of the affective aspects of the migrant experience, which often escape theories and methodologies.</span></div>
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<span style="font-kerning: none;">This special issue aims at bringing together insights from across disciplinary fields. We welcome abstracts from scholars, artists, activists and practitioners, and non-academics who explore or experiment with the affective nature of migrant activism.</span></div>
<div style="-webkit-text-stroke-color: rgb(33, 33, 33); -webkit-text-stroke-width: initial; background-color: white; color: #212121; font-family: Times; font-size: 13.3px; font-stretch: normal; line-height: normal;">
<span style="font-kerning: none;">As the focus of this special edition is on understanding the more holistic experience of migration, we seek to mirror that in the way the edition is structured and understood by the reader. Therefore, we especially invite creative response to the call (which might include photo-essays, interviews, shorter articles, “blog” style posts or artist statements).</span></div>
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<span style="font-kerning: none;">Possible themes may address but are not limited to:</span></div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; background-color: white; font-family: Times; font-size: 16px; font-stretch: normal; line-height: normal; min-height: 19px;">
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<div style="-webkit-text-stroke-color: rgb(33, 33, 33); -webkit-text-stroke-width: initial; background-color: white; color: #212121; font-family: Times; font-size: 13.3px; font-stretch: normal; line-height: normal;">
<span style="font-kerning: none;"> * The intersection between affect and migration</span></div>
<div style="-webkit-text-stroke-color: rgb(33, 33, 33); -webkit-text-stroke-width: initial; background-color: white; color: #212121; font-family: Times; font-size: 13.3px; font-stretch: normal; line-height: normal;">
<span style="font-kerning: none;"> * Relational ontologies</span></div>
<div style="-webkit-text-stroke-color: rgb(33, 33, 33); -webkit-text-stroke-width: initial; background-color: white; color: #212121; font-family: Times; font-size: 13.3px; font-stretch: normal; line-height: normal;">
<span style="font-kerning: none;"> * Emotions, discursive structures and embodied realities that migration produces</span></div>
<div style="-webkit-text-stroke-color: rgb(33, 33, 33); -webkit-text-stroke-width: initial; background-color: white; color: #212121; font-family: Times; font-size: 13.3px; font-stretch: normal; line-height: normal;">
<span style="font-kerning: none;"> * Affect as tool of resistance</span></div>
<div style="-webkit-text-stroke-color: rgb(33, 33, 33); -webkit-text-stroke-width: initial; background-color: white; color: #212121; font-family: Times; font-size: 13.3px; font-stretch: normal; line-height: normal;">
<span style="font-kerning: none;"> * How affective processes, practices, sensations shape migrants experiences</span></div>
<div style="-webkit-text-stroke-color: rgb(33, 33, 33); -webkit-text-stroke-width: initial; background-color: white; color: #212121; font-family: Times; font-size: 13.3px; font-stretch: normal; line-height: normal;">
<span style="font-kerning: none;"> * Everyday bordering processes and affect</span></div>
<div style="-webkit-text-stroke-color: rgb(33, 33, 33); -webkit-text-stroke-width: initial; background-color: white; color: #212121; font-family: Times; font-size: 13.3px; font-stretch: normal; line-height: normal;">
<span style="font-kerning: none;"> * Affective methodologies, embodied accounts of the lived experiences of migrants</span></div>
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<span style="font-kerning: none;">Please send title and abstract of no more than 250 words no later than FRIDAY OCTOBER 13th 2017.</span></div>
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<span style="font-kerning: none;">Abstracts and enquiries should be sent to:</span></div>
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<span style="font-kerning: none;">Amy Frances Wishart Corcoran a.f.w.corcoran@qmul.ac.uk AND Isabel Meier i.meier@uel.ac.uk<</span><span style="-webkit-font-kerning: none; -webkit-text-stroke-color: rgb(0, 0, 0); color: black;">mailto:i.meier@uel.ac.uk</span><span style="font-kerning: none;">></span></div>
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<span style="font-kerning: none;">Deadline for proposals: 13th of October 2017</span></div>
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<span style="font-kerning: none;">Acceptance: No later than November 2017</span></div>
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<span style="font-kerning: none;">Deadline for first-drafts: End of February 2018</span></div>
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<span style="font-kerning: none;">*** We are also seeking to recruit one more member to our editorial team, if you are interested, please contact Amy and Isabel at the email addresses provided above***</span></div>
Federica Mazzarahttp://www.blogger.com/profile/14836667896648615035noreply@blogger.com1tag:blogger.com,1999:blog-8606505117319177466.post-13456130334605756552017-06-01T21:40:00.000+01:002017-06-01T21:42:39.390+01:00Rights and Might: Cultural counter-narratives of the migrant and refugee experience | University of Westminster_Refugee week 22-25 June 2017Dear all,<br />
it's my pleasure to announce the upcoming conference I've had the pleasure to co-organise with a number of colleagues from the University of Westminster.<br />
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You can find all details in the <a href="https://www.eventbrite.co.uk/e/rights-and-might-cultural-counter-narratives-of-the-migrant-and-refugee-experiences-tickets-33522053364">eventbrite page</a>, where you can also register.<br />
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For a draft programme see below<br />
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<br />Federica Mazzarahttp://www.blogger.com/profile/14836667896648615035noreply@blogger.com0tag:blogger.com,1999:blog-8606505117319177466.post-22950911257616944042017-02-07T11:22:00.001+00:002017-02-07T11:22:47.239+00:00Lampedusa: Debating representation of migration in an age of 'crisis' (2 March, 6:30pm.)<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Dear all,</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">it's my pleasure to announce an upcoming event at the University of Westminster, where I will present on my research together with artists <a href="http://www.mayaramsay.co.uk/work.php?s=countless">Maya Ramsey</a>, <a href="http://www.to6411.net/">Lucy Wood</a> and <span style="letter-spacing: 0.5px;"><a href="http://augohr.de/catalogue/persisting-dreams">Côme Ledésert</a>.</span></span><br />
<span style="letter-spacing: 0.5px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Don't miss it! The event is free but <a href="https://www.eventbrite.co.uk/e/lampedusa-debating-representation-of-migration-in-an-age-of-crisis-tickets-31536375147">registration</a> is required. </span></span>Federica Mazzarahttp://www.blogger.com/profile/14836667896648615035noreply@blogger.com1tag:blogger.com,1999:blog-8606505117319177466.post-42116121281173006342017-02-07T11:06:00.000+00:002017-02-07T11:10:12.809+00:00Richard Mosse, Incoming (Barbican Art Gallery 15 February-23 April 2017)<h2>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Richard Mosse, </span><i style="font-family: Arial, Helvetica, sans-serif;"><a href="https://www.barbican.org.uk/artgallery/event-detail.asp?ID=19949">Incoming</a></i></h2>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span class="black16 FuturaBT-Book">15 February 2017 - 23 April 2017</span><span class="black16 FuturaBT-Book">Curve Gallery</span></span></span><br />
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<span style="background-color: #cc0000;"><span style="font-kerning: none;">Barbican Art Gallery has invited conceptual documentary photographer and Deutsche Börse Photography Prize winner Richard Mosse to create an immersive multi-channel video installation in the Curve. In collaboration with composer <b>Ben Frost</b> and cinematographer <b>Trevor Tweeten</b>, Mosse has been working with an advanced new thermographic weapons and border imaging technology that can see beyond 30km, registering a heat signature of relative temperature difference. Classed as part of advanced weapons systems under International Traffic in Arms Regulations (ITAR), Mosse has been using this export controlled camera against its intended purpose, to create an artwork about the refugee crisis unfolding in the Aegean Sea, off the coast of Libya, in Syria, the Sahara, the Persian Gulf, and other locations. </span><span style="-webkit-font-kerning: none; font-size: 16px; line-height: normal;"><br /></span><span style="font-kerning: none;">Mosse is renowned for work that challenges documentary photography. In his recent work <i>The Enclave</i> (2013) – a six-channel installation commissioned by the Irish Pavilion for the 2013 Venice Biennale – Mosse employed a now discontinued 16mm colour infrared film called Kodak Aerochrome that transformed the green landscape of the eastern Democratic Republic of Congo into vivid hues of pink to create a surreal dreamscape. Questioning the ways in which war photography is constructed, Mosse’s representation of the ongoing armed conflict in eastern Congo advocates a new way of looking.</span><span style="-webkit-font-kerning: none; font-size: 16px; line-height: normal;"><br /></span><span style="font-kerning: none;">Born in Ireland in 1980, Richard Mosse lives and works in New York and Ireland.</span></span></div>
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<span style="background-color: #cc0000;">Please note, the exhibition will close at 6pm (last entry 5.30pm) on 16 February.</span></div>
Federica Mazzarahttp://www.blogger.com/profile/14836667896648615035noreply@blogger.com0tag:blogger.com,1999:blog-8606505117319177466.post-10387084741997897522017-02-07T11:00:00.002+00:002017-02-07T11:01:32.627+00:00Representing the Calais Jungle GIDEON MENDEL: DZHANGAL (London, 6 January-11 February)<div id="excerpt" style="border: 0px; font-family: arial, helvetica, sans-serif; font-size: 14.039999961853027px; margin: 20px 0px 0px; outline: 0px; padding: 0px; vertical-align: baseline;">
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GIDEON MENDEL: <a href="http://autograph-abp.co.uk/exhibitions/dzhangal">DZHANGAL</a></h3>
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<span style="color: #f3f3f3;">Rivington Place (London)</span></div>
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<span style="color: #f3f3f3;">Photographer Gideon Mendel has created a powerful installation using objects he gathered during visits to the 'Jungle' refugee camp in Calais.</span></div>
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<span style="color: #f3f3f3;">By focusing on items such as toothbrushes, playing cards, worn-out trainers, teargas canisters, and children’s dolls, Mendel conjures alternative portraits of the 'Jungle' residents that also stand in for the plight of displaced people everywhere. </span></div>
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<span style="color: #f3f3f3;">The title of the project <em style="border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Dzhangal</em> refers to a Pashto word meaning ‘This is the forest’, the origin of the contentious term 'Jungle'.</span></div>
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<span style="color: #f3f3f3;">Mendel is noted for his long-term socially engaged projects. He initially went to Calais to teach photography to refugees part of a collaborative documentary project. He discovered that many refugees were hostile towards the camera and sceptical that it would ameliorate their situation. Many feared that being identified could undermine their asylum claims and lead to deportation.</span></div>
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<span style="color: #f3f3f3;">Mendel’s response was to turn his attention to lost objects on the ground, collecting them and trying to understand the patterns that emerged. Through the display of discarded objects, Mendel highlights the residents’ humanity. Some objects evoke the daily violence many experienced, some reflect the banality and domesticity of lives there - including the plight of women and children - while artefacts from a deeper archaeological layer evidence the era before the camp existed.</span></div>
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<span style="color: #f3f3f3;">This exhibition combines a series of large still life photographs of these objects with installations of found objects. Mendel regards his <em style="border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Dzhangal</em> project as a way to create order from the disorder. It is an attempt to make sense of the complex relationships, politics, and situations found on the ground by restructuring the objects within the frameworks of art and photography. In these artefacts with all their ingrained grit and ashes, one senses the refugees’ struggle to live ordinary lives under extraordinary circumstances, while the stench of smoke evokes the fire that turned to ashes their hopes for better lives in England.</span></div>
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<span style="color: #f3f3f3;">During the concluding week of the exhibition, Mendel’s book, <em style="border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">DZHANGAL</em> will be released. Published by Gost Books, it will include 80 pages of images, along with texts by refugees, writer and broadcaster Paul Mason, and art historian Dominique Malaquais.</span></div>
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<strong style="border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="color: #f3f3f3;">On the Jungle</span></strong></div>
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<span style="color: #f3f3f3;">The Jungle was the final incarnation of temporary refugee camps that sprang up around the Port of Calais in the past eighteen years. Initially, residents in the camps numbered in the hundreds— with an estimated 800 refugees in 2009. Since then, this number rapidly increased because of turmoil in the Middle East and the Horn of Africa. In September 2014, there were approximately 1,300 refugees. By November 2015 numbers had risen to 6,000. There were up to 9,000 refugees residing in the Jungle in October 2016, when the camp was demolished.</span></div>
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Federica Mazzarahttp://www.blogger.com/profile/14836667896648615035noreply@blogger.com0tag:blogger.com,1999:blog-8606505117319177466.post-31912422497052637952017-01-15T15:08:00.003+00:002017-01-15T15:11:14.419+00:00Disappearance at Sea-Mare Nostrum_Exhibition BALTIC (Newcastle)<span style="font-family: "georgia" , "times new roman" , serif;"><b><br /></b></span>
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<span style="text-align: center;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="background-color: #ffd966; color: #333333; font-size: medium;">BALTIC _Centre for Contemporary Art | Newcastle | 27 January – 14 May 2017</span></span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><b>This <a href="http://www.balticmill.com/disappearance-at-sea-mare-nostrum">group exhibition</a> draws attention to the journey undertaken by migrants and refugees to cross the Mediterranean Sea. Mare Nostrum, literally ‘our sea’, is the Latin name for the Mediterranean.</b></span><br />
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<span style="color: white; font-family: "georgia" , "times new roman" , serif;">During 2015, some one million people sought to make the crossing, travelling through Turkey and Greece and from Libya to Italy, forced by wars in the Middle East, in Syria, Libya and Egypt, compelled by persecution. It has been the largest exodus of people in our times and it continues. The exhibition includes several new commissions and a broad range of artworks by artists from Syria, Greece, Serbia, Denmark, Kenya and the UK, who have explored ways of addressing this humanitarian disaster.</span></div>
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<span style="color: white; font-family: "georgia" , "times new roman" , serif;">Artists: James Bridle, Tomo Brody, Aikaterini Gegisian, ScanLAB Projects & Embassy for the Displaced, Forensic Architecture (Lorenzo Pezzani & Charles Heller), Jackie Karuti, Nikolaj Bendix Skyum Larsen, Hrair Sarkissian, Škart collective - Djordje Balmazovič, Wolfgang Tillmans, Watch the Med, Amnesty International</span></div>
Federica Mazzarahttp://www.blogger.com/profile/14836667896648615035noreply@blogger.com0tag:blogger.com,1999:blog-8606505117319177466.post-44484670933366180522017-01-15T14:57:00.000+00:002017-01-15T15:11:52.103+00:002017 George Steiner Lecture in Comparative Literature<div style="font-family: 'benton sans', 'helvetica neue', helvetica, roboto, arial, sans-serif; font-size: 15px; letter-spacing: 0.5px; padding: 0px;">
<span style="padding-top: 0px;"><span style="color: white; font-weight: 700; padding-top: 0px;">T<span style="padding-top: 0px;">he 2017 George Steiner Lecture in Comparative Literature </span></span></span></div>
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<span style="padding-top: 0px;"><span style="color: white; font-weight: 700; padding-top: 0px;">Tuesday 7 February 2017 at 6:30pm. </span></span></div>
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<span style="color: white;"><em style="padding-top: 0px;"><span style="font-weight: 700; padding-top: 0px;">“Strangers in Europa: Migrant, Terrorist, Refugee” </span></em><span style="font-weight: 700;">(Professor Aamir R. Mufti, UCLA)</span><span style="font-weight: 700;"><span style="padding-top: 0px;"><span style="padding-top: 0px;"></span></span></span></span></div>
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<span style="color: white; font-weight: 700;">Register <a href="https://www.eventbrite.co.uk/e/the-2017-george-steiner-lecture-in-comparative-literature-tickets-30323250659">here</a></span></div>
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<span style="color: white; font-weight: 700; padding-top: 0px;">Abstract:</span></div>
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<span style="color: white; padding-top: 0px;">Europe’s present structural crisis is simultaneously economic and cultural, highlighting the failure of both financial and multicultural integration<span style="padding-top: 0px;">, which are aspects of the same historical process</span>. This lecture will argue that this crisis must be approached through the perspectives offered by a critical examination of the colonial and imperial origins of the European idea and the present trace of that past in the experience of postcolonial migrancy. Furthermore, the most notorious figures of migrancy in Europe today, the most hyper-visible variants of the figure of the migrant, are the terrorist and the refugee, and equally evident is that they have legible “Islamic” markings. The inter-war sense that the presence of relatively small “alien” populations constitutes a threat to the integrity of society has reappeared now with a vengeance. And while the minorities that produced such anxieties then were disproportionately Jewish, now they are disproportionately “Muslim”. No appeal on the left to a broadly conceived European <i>demos</i> as the claimant to a common life on the continent can bypass this necessity of confronting these imperial origins. In the absence of such a self-critique of the European idea, the <i>dēmos</i> is threatened with reverting to <i>ethnos</i>, a political-progressive concept of the European people to a reactionary “cultural” or “civilizational” one.</span></div>
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<span style="color: white; font-weight: 700; padding-top: 0px;">Biography:</span></div>
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<span style="color: white; padding-top: 0px;"><span style="padding-top: 0px;">Born and raised in Karachi, Aamir R. Mufti is Professor of Comparative Literature at UCLA. He pursued his doctorate in literature at Columbia under the supervision of Edward Said. He was also trained in anthropology at Columbia and the LSE. A student of the imperial process in the emergence of modern culture and society, he has examined it in a number of domains, including secularism and secularization, minority social formations, nationalisms and statelessness, language conflicts, comparative and world literature, and the globalization of English. Among his books, </span><i>Enlightenment in the Colony: The Jewish Question and the Crisis of Postcolonial Culture </i>(Princeton, 2007) reconsiders the secularization thesis in a comparative perspective, with a special interest in Islam and modernity in India and the cultural politics of Jewish identity in Western Europe. <i>Forget English! Orientalisms and World Literatures</i> (Harvard, 2016) is the first systematic critique of the concept of world literature from the perspective of non-Western languages. Among current projects are books concerning exile and criticism, the colonial reinvention of Islamic orthodoxy, and the migration crisis of the European project. He is also co-convener of a collaborative project called Rethinking Bandung Humanisms.</span></div>
Federica Mazzarahttp://www.blogger.com/profile/14836667896648615035noreply@blogger.com0tag:blogger.com,1999:blog-8606505117319177466.post-81034038766726772342017-01-12T16:41:00.003+00:002017-01-15T15:12:31.667+00:00Special Issue on Lampedusa and Cultural Expressions<span style="font-family: "georgia" , "times new roman" , serif;">Dera all,</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">I am so glad to share with you the news that my <a href="http://www.intellectbooks.co.uk/journals/view-issue,id=3215/">Special Issue</a> on Lampedusa and Cultural expressions (<span style="font-weight: bold;">Lampedusa: Cultural and artistic spaces for migrant voices) </span>is now out. The issue is published in the journal C<a href="http://www.intellectbooks.co.uk/journals/view-Journal,id=173/">rossings: Journal of Migration and Cultures</a>. Below you can read my Editorial:</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><b>Editorial</b></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">Federica Mazzara</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-weight: 300;">Lampedusa is nowadays internationally known for being the first landing
shore for thousands of migrants</span><span style="font-weight: 300; vertical-align: 3pt;">1 </span><span style="font-weight: 300;">who are forced to cross irregularly the Sicilian
Channel from Africa in overcrowded dinghies, putting their lives at risk in
order to reach Europe, after escaping areas of poverty and conflict. However,
Lampedusa is also the destination of international tourism, which seeks out
the island especially for its pristine seabed and beautiful beaches. In trying
to negotiate this double identity of, on the one hand, the point of arrival and
location of a reception centre for desperate migrants and, on the other, the
destination of tourists in search of leisure, Lampedusa is a site of tension that
has also produced critical spaces of cultural expressions that this Special Issue
analyses. The articles presented here share the view that within the so-called
‘migrant crisis’ of at least the past two decades, Lampedusa has been used as
a stage of spectacle (De Genova 2005; Cuttitta 2014), where migrants are only
allowed to appear in their desolation and misery, with no possibility to subjectify the experience of migrating itself which could allow them to recover their
dignity and voices within a predominantly hostile Europe, which often rejects
them and the reasons for their passage.</span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-weight: 300;">In line with another recent special issue published in the journal </span><span style="font-style: italic; font-weight: 300;">Italian
Studies</span><span style="font-weight: 300;">, edited by Luciano Baracco and entirely dedicated to Lampedusa
(Baracco 2015), this issue recognizes that the question of migration around the
Mediterranean island needs an approach that takes into account the diverse
and contradictory narratives revolving around the arrival of ‘wasted lives’
(Bauman 2004) in a peripheral borderland, yet at the centre of an ‘emergency’
that is rarely challenged.
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-weight: 300;">The idea for this special issue came from a Symposium I organized at UCL in October 2014 called </span><span style="font-style: italic; font-weight: 300;">Lampedusa: Migratory Space, Memory
and Aesthetics</span><span style="font-weight: 300;">. On that occasion, I invited Alessandro Triulzi (president of
the Archivio Memorie Migranti [Archive of Migrant Memories], based in
Rome), Ilaria Vecchi (film-maker and member of the Lampedusa-based
collective Askavusa) and Valentina Zagaria (anthropologist and theatre
director, author of </span><span style="font-style: italic; font-weight: 300;">Miraculi</span><span style="font-weight: 300;">, a play about Lampedusa based on collective
ethnographic research on the island) to talk about their personal experi-
ences dealing with migration in the context of Lampedusa through a less
common approach that would include cultural and artistic practices. The
symposium generated a further discussion</span><span style="font-weight: 300; vertical-align: 3pt;">2 </span><span style="font-weight: 300;">on the topic of aesthetics of
migration that I link to the work of scholars such as Mieke Bal, and to her
pioneering contributions on the topic of ‘migratory aesthetics’ (Bal 2007; Bal
and Hernández-Navarro 2011).
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<span style="font-weight: 300;"><span style="font-family: "georgia" , "times new roman" , serif;">The premise here is that in the context of representation, art and cultural
discourses reveal aspects of migration that are invisible to governmental and
public discourses. Aesthetic representations are better positioned to allow the
protagonists of the Mediterranean passage to acquire a visibility commonly
denied in mainstream narratives. As I have stated elsewhere, the aesthetic
discourse has the ability ‘to reorganize the realm of the visible, diverting the
position and the roles of observers and observees, in order to gain different
perspectives’ (Mazzara 2015: 460). In so doing, cultural and artistic practices
disrupt the ‘representational system that aims at reducing migrant subjectivities to mere bodies without words and yet threatening in their presence as
a mass, a multitude, an haemorrhagic stream of anonymous and unfamiliar
others’ (Mazzara 2015: 460).
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-weight: 300;">All the contributions to this issue embrace a view that considers
migrants as individuals with autonomy, subjects of power that are able to
challenge the biased representation of them as criminals or victims, depend-
ing on the framework applied, respectively the securitarian or humanitar-
ian one, a representation that even cultural practices endorse at times, as in
the case of the very recent and award-winning documentary by Gianfranco
Rosi, </span><span style="font-style: italic; font-weight: 300;">Fuocoammare </span><span style="font-weight: 300;">(Fire at Sea, 2016)</span><span style="font-weight: 300; vertical-align: 3pt;">3</span><span style="font-weight: 300;">. Despite all the international praise
received, Rosi’s film limits itself to drag the viewer to compassion and pity,
through a spectacle of suffering that locates the migrants – and to some
extend also the locals – at the usual space of invisibility they commonly
inhabit in all mainstream representations, failing to encourage a more
sophisticated understanding of the issue of immigration into Lampedusa.
Migrants do not take the word in the film, apart from a few minutes when
they describe how they are distributed in the boat or when they sing a song
expressing their desperation, otherwise they appear in all their misery:
crying, dirty, exhausted people freshly rescued by the ‘heroes’ of the Italian
Navy, or – even worse – they appear as corpses, while the documentary fails</span></span></div>
</div>
</div>
<div class="page" title="Page 3">
<div class="layoutArea">
<div class="column">
<span style="font-weight: 300;"><span style="font-family: "georgia" , "times new roman" , serif;">to address the reasons behind their death. As Sandra Ponzanesi has recently
observed regarding Rosi’s documentary:
</span></span><br />
<span style="font-weight: 300;"><span style="font-family: "georgia" , "times new roman" , serif;">'The rescue scenes [...] have science-fiction, alienating undertones. The
shiny laminate thermal blankets give a group of immigrants a surreal
look, especially in contrast to the white overall and masks worn by the
rescue team to protect themselves from possible contagion, creating an
encounter that cannot possibly be on equal footing. We never hear any
of the migrants directly, or their personal story. They offer a face, correct-
ing therefore our perception of just numbers, but their subjective posi-
tion never comes to the fore'.
</span></span><br />
<span style="font-weight: 300;"><span style="font-family: "georgia" , "times new roman" , serif;">(Ponzanesi 2016: 12–13)
</span></span><br />
<span style="font-weight: 300;"><span style="font-family: "georgia" , "times new roman" , serif;">Rosi’s documentary does not to take into consideration many crucial aspects
of the phenomenon of immigration in Lampedusa, such as the fact that the
process of militarization of the island has grown to an unbearable extent,
or that inside the island there is a strong resistance to the spectacle of the
‘migrant crisis’, performed by locals and people interested in subverting the
mainstream narrative that has afflicted Lampedusa in at least the past two
decades. Among these, the local collective called Askavusa (‘the barefoot
woman’ in Sicilian dialect) has for years promoted a counter-discourse involv-
ing migrants in some of their initiatives and is now mainly interested in resist-
ing the process of making the island a stronghold of the European border
patrol system which is, paradoxically, in charge of rescuing migrants from
the very peril caused by this system. The article by Ilaria Vecchi, in this issue,
relates the genesis of the collective and its provocative, and at times problem-
atic, initiatives.
</span></span><br />
<span style="font-weight: 300;"><span style="font-family: "georgia" , "times new roman" , serif;">The humanitarian and sentimentalist approach of Rosi’s film has not
done much for the island of Lampedusa, rather it has contributed to keep-
ing concealed the fact that the island is a vibrant place and at the centre of a
counter-narrative that does not appear in the mainstream media, which this
issue is keen to acknowledge through the contributions of scholars, activists
and artists who have spent lots of energy in attempts to reveal the reversed
side of the coin. The work done by the Archivio Memorie Migranti (Archive of
Migrant Memories), which is at the centre of the articles by Alessandro Triulzi
and Giancluca Gatta, is an example of the resistance and encouragement of
a migrant struggle promoted by the Archive, by involving migrants in cultural
projects of self-narration and representation. The article by Gianluca Gatta,
in particular, describes the frustration related to the making of a museum
of migration on the island, which had a troubled genesis till the project was
finally abandoned.
</span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-weight: 300;">The issue also addresses the possibility of looking at art as a possible
way to subvert the narrative. In particular, Valentina Zagaria describes the
various steps that led her and a group of international actors to carry out
a fieldwork on the island that would end up in the making of a play called
</span><span style="font-style: italic; font-weight: 300;">Miraculi </span><span style="font-weight: 300;">(‘miracles’in Sicilian dialect) which engages mostly with the inhabit-
ants of Lampedusa and their struggles within the framework of the so-called
‘migrant crisis’.
</span></span><br />
<span style="font-weight: 300;"><span style="font-family: "georgia" , "times new roman" , serif;">Maya Ramsey’s article looks at the various art practices that migration into
Lampedusa, and in general into Europe, has produced in recent years, raising </span></span><span style="font-family: "georgia" , "times new roman" , serif;">important issues that address the legitimacy of these forms of representation
from the perspective of a practicing artist.</span></div>
</div>
</div>
<div class="page" title="Page 4">
<div class="layoutArea">
<div class="column">
<span style="font-weight: 300;"><span style="font-family: "georgia" , "times new roman" , serif;">My article, which opens the issue, intends to frame its theoretical approach
by also referring to some examples of struggle that have occurred within and
outside the island, where migrants have been the main actors, and have used
their own voices and stories to subvert physical and mental borders.
</span></span><br />
<span style="font-weight: 300;"><span style="font-family: "georgia" , "times new roman" , serif;">Finally and most importantly, this issue includes a section called ‘Tales of
Journeys’ that collects the words of those who have personally experienced
the traumatic passage and are eager to share with us the pain, frustration
and fear of those moments that led them to undertake the journey (Zakaria
Mohamed Ali), the journey itself (Dagmawi Yimer) and the return to the island
of Lampedusa as an individual who wants to pay a visit to the place where he
first felt safe (Mahamed Aman).
</span></span><br />
<span style="font-weight: 300;"><span style="font-family: "georgia" , "times new roman" , serif;">This section ends with an unpublished short story by the Italian-Ethiopian
writer and performer Gabriella Ghermandi, whose art is an expression of the
strive to cope with the arduousness of migrating and adapting in a cultural
space that does not respect your identity and values.
</span></span><br />
<span style="font-weight: 300;"><span style="font-family: "georgia" , "times new roman" , serif;">The section ‘Tales of journeys’ is the signature of this issue that lets the
actors of the migratory passage subvert the roles of observer and observed,
offering the western gaze a chance to suspend the process of spectaculariza-
tion in favour of a subjectification of the experience of migrating, beyond any
concept of‘crisis’,‘border patrolling’and‘humanitarian intervention’.
</span></span><br />
<span style="font-weight: 300;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span>
<span style="font-family: "georgia" , "times new roman" , serif;"><b>Notes</b></span><br />
<ol>
<li><span style="font-family: "georgia" , "times new roman" , serif;">In this issue the word migrant is used to indicate a broad group of ‘illegalized travellers’ who want to reach Europe</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">but do not have the required documents to do so. These include economic migrants, asylum seekers and refugees who escape conflict areas or extreme poverty.</span></li>
<li><span style="font-family: "georgia" , "times new roman" , serif;">When the idea of a Special Issue was developed, other contributors were included in order to present a more comprehensive and diverse view on the topic.</span></li>
<li><span style="font-family: "georgia" , "times new roman" , serif;">The documentary won the 66th Golden Bear at the 2016 Berlin Film Festival.</span></li>
</ol>
<span style="font-weight: 700;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span>
<span style="font-weight: 700;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span>
<span style="font-weight: 700;"><span style="font-family: "georgia" , "times new roman" , serif;">ACKNOWLEDGEMENTS
</span></span><br />
<span style="font-weight: 300;"><span style="font-family: "georgia" , "times new roman" , serif;">I wish to thank all the contributors to this issue for the passion and commit-
ment shown in the making of this collaborative project, in particular
Alessandro Triulzi for all his advices and comments at various stages, Valentina
Zagaria for her supportive enthusiasm since the very beginning and for a care-
ful final reading of the whole issue, Ilaria Vecchi for sharing with me over the
past years her experience as an activist in the island of Lampedusa, Gianluca
Gatta for his willingness to join the project at a later stage, offering his critical
view on a project that deserves lots of attention, and Maya Ramsay for adding
her perspective as a practitioner.
</span></span><br />
<span style="font-weight: 300;"><span style="font-family: "georgia" , "times new roman" , serif;">I also want to thank the Archivio Memorie Migranti (Archive of Migrant
Memories) for giving me the opportunity to include in the issue the voices of
those who made the journey towards Lampedusa: Dagmawi Yimer, Mahamed
Aman and Zakaria Mohamad Ali, whose travel textual testimonies are a
precious document we need to preserve. Thank you Dagmawi, Mohamed and
Zakaria!
</span></span><br />
<span style="font-weight: 300;"><span style="font-family: "georgia" , "times new roman" , serif;">My special thanks also to Gabriella Ghermandi, a writer I admire for her
courage to break the silence over painful and untold memories of a woman
in-between cultures, for her willingness to offer one of her unpublished short
stories to this issue.
</span></span><br />
<span style="font-weight: 300;"><span style="font-family: "georgia" , "times new roman" , serif;">I want to thank the Lampedusa collective Askavusa, a hub of incessant
reasoning around immigration and its implications in the island that has
informed my research on the aesthetics of subversion in Lampedusa at vari-
ous stages.
</span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-weight: 300;">Finally, it is with immense gratitude that I acknowledge the support of
</span><span style="font-style: italic; font-weight: 300;">Crossings: Journal of Migration & Culture</span><span style="font-weight: 300;">, in particular the team’s supportive
enthusiasm and the assistance offered during the making of this Special Issue;
my special thanks go to Parvati Nair, Elisa Costa Villaverde and Julie Strudwick.
</span></span></div>
</div>
</div>
<br />
<div class="page" title="Page 5">
<div class="layoutArea">
<div class="column">
<span style="font-family: "georgia" , "times new roman" , serif;">This issue is dedicated to the memory of all those unnamed migrants who
hoped to reach the shores of Lampedusa and are instead resting at the bottom
of the Mediterranean Sea.
</span><br />
<span style="font-weight: 700;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span>
<span style="font-weight: 700;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span>
<span style="font-weight: 700;"><span style="font-family: "georgia" , "times new roman" , serif;">REFERENCES
</span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">Bal, M. (2007), ‘Lost in space, lost in the library’, in S. Durrant and C. Lord
(eds), <span style="font-style: italic;">Essays in Migratory Aesthetics</span>, Amsterdam: Rodopi, pp. 23–36.
</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">Bal, M. and Hernández-Navarro, M. Á. (2011), <span style="font-style: italic;">Art and Visibility in Migratory
Culture Conflict, Resistance and Agency</span>, Amsterdam and New York: Rodopi.
</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">Baracco, L. (2015), ‘Reimagining Europe’s borderlands: The social and cultural
impact of undocumented migrants on Lampedusa’, <span style="font-style: italic;">Italian Studies</span>, Special
issue, 70:4.
</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">Bauman, Z. (2004), <span style="font-style: italic;">Wasted Lives, Modernity and its Outcasts</span>, Cambridge: Polity
Press.
</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">Cuttitta, P. (2014), ‘Borderizing the island setting and narratives of the
Lampedusa “border play”‘, <span style="font-style: italic;">ACME: An International E-Journal for Critical
Geographies</span>, 13:2, pp. 196–219.
</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">Genova, N. De (2005), <span style="font-style: italic;">Working the Boundaries: Race, Space, and ‘Illegality’ in
Mexican Chicago</span>, Durham, NC: Duke University Press.
</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">Mazzara, F. (2015), ‘Spaces of visibility for the migrant of Lampedusa: The
counter narrative of the aesthetics discourse’, <span style="font-style: italic;">Italian Studies</span>, 70:4, pp.
449–64.
</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">Ponzanesi, S. (2016), ‘Of shipwrecks and weddings: Borders and mobilities in
Europe’, <span style="font-style: italic;">Transnational Cinemas</span>, 7:2, pp. 151–167.
</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">Federica Mazzara has asserted her right under the Copyright, Designs and
Patents Act, 1988, to be identified as the author of this work in the format that
was submitted to Intellect Ltd. </span></div>
</div>
</div>
Federica Mazzarahttp://www.blogger.com/profile/14836667896648615035noreply@blogger.com1tag:blogger.com,1999:blog-8606505117319177466.post-15527330993684609642016-11-14T14:55:00.000+00:002016-11-14T14:59:01.753+00:00My interview for the Blog PERFORMNING BORDERSHi there,<br />
Just wanted to share with you an <a href="https://performingborders.wordpress.com/2016/11/14/federica-mazzara-november/">interview</a> with me by Alessandra Cianetti (co-director of <a href="https://something-human.org/">Something Human</a>) for her amazing Blog, <a href="https://performingborders.wordpress.com/">Performing Borders: Conversations on Live Art / Crossing / Europe</a>.<br />
Enjoy it!<br />
<br />Federica Mazzarahttp://www.blogger.com/profile/14836667896648615035noreply@blogger.com0tag:blogger.com,1999:blog-8606505117319177466.post-24948680232643311102016-11-13T09:05:00.001+00:002016-11-13T09:07:06.764+00:00Refugees, Immigration Control and Indifference_Lecture by Prof. Gill SOAS 16 Nov 2016, 6pm.<h2>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6PaJf5Ju3uhu5m4Pmn_iebh4gIwxj_nXcntSis07SSv0jbj-hECNRvGzm10azbu79xbnBsDUQLrrv596Ol4_4gY2Xj8HsWyMP4PFMhlRnpGpqEgH7DnLSSX-nzYIIwzaIefT1SZvWEdrl/s1600/Schermata+2016-11-13+alle+09.03.36.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="143" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6PaJf5Ju3uhu5m4Pmn_iebh4gIwxj_nXcntSis07SSv0jbj-hECNRvGzm10azbu79xbnBsDUQLrrv596Ol4_4gY2Xj8HsWyMP4PFMhlRnpGpqEgH7DnLSSX-nzYIIwzaIefT1SZvWEdrl/s400/Schermata+2016-11-13+alle+09.03.36.png" width="400" /></a></div>
</h2>
<h2>
Refugees, Immigration Control and Indifference: Reflections on the Role of Distance</h2>
<br />
<article class="eventdetail">
<h2>
Prof Nick Gill (Exeter, Dept of Geography)</h2>
<b>Date:</b> <abbr class="dtstart" title="2016-11-16T06:00:00">16 November 2016</abbr><b>Time:</b> 6:00 PM <br />
<b>Finishes:</b> <abbr class="dtend" title="2016-11-16T08:00:00">16 November 2016</abbr><b>Time:</b> 8:00 PM <br />
<div class="location">
<b>Venue:</b> Russell Square: College Buildings <b>Room:</b> DLT </div>
<b>Type of Event:</b> Lecture<br />
<br />
In this lecture Professor Nick Gill seeks to understand the ways in
which border control practices draw forth indifference to refugees. In
particular, the recent history of border control in Britain has
highlighted various ways in which different forms of distance – literal,
cultural and psychological – have been implicated in the nurturing and
generation of indifference to migrant suffering and struggle among the
public in general and among functionaries within the border control
system. Professor Gill offers both a general reflection on the dynamics
of indifference, estrangement and remoteness in contemporary immigration
control regimes, and a summary of recent findings from research in
Britain’s First Tier immigration and asylum tribunal. The discussion
concludes by exploring the implications of the dynamics of indifference
for activist tactics in pursuit of deborderisation.<br />
<br />
<b>Organiser:</b> Centre for Migration and Diaspora Studies<br />
<b>Contact email:</b> <a href="mailto:cb92@soas.ac.uk">cb92@soas.ac.uk</a><br />
</article>Federica Mazzarahttp://www.blogger.com/profile/14836667896648615035noreply@blogger.com0tag:blogger.com,1999:blog-8606505117319177466.post-19168576008320272052016-11-13T08:08:00.010+00:002016-11-13T08:54:12.037+00:00'Un partigiano mi disse'_A project by Gabriele Del Grande<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrwDmAZebYDp9HQu3RdX736MivubVVuFfVyHma0YakHMNUD-TLXsCR0i10D8JPDi-A6y6fZJf7QWwQ3WF4WyJYhW91afCXDQK3YpCZ2t1qL-dmWBsQfiyYfOsde2VCrCidqC9N5GJQWcnb/s1600/Schermata+2016-11-13+alle+08.44.08.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="325" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrwDmAZebYDp9HQu3RdX736MivubVVuFfVyHma0YakHMNUD-TLXsCR0i10D8JPDi-A6y6fZJf7QWwQ3WF4WyJYhW91afCXDQK3YpCZ2t1qL-dmWBsQfiyYfOsde2VCrCidqC9N5GJQWcnb/s400/Schermata+2016-11-13+alle+08.44.08.png" width="400" /></a></div>
<br />
CONGRATULATIONS to<a href="https://twitter.com/AbuNefeli?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor"> Gabrele Del Grande </a>(one of the directors of <i>On the Bride's Side</i>) for his successful crowdfunding campaign to support his nex book project <i>Un Partigiano mi disse.</i><br />
<br />
All details <a href="https://www.produzionidalbasso.com/project/un-partigiano-mi-disse/#ENGLISHVERSION">here</a><br />
<i> </i><br />
Well done Gabriele, looking forward to reading your book!Federica Mazzarahttp://www.blogger.com/profile/14836667896648615035noreply@blogger.com0tag:blogger.com,1999:blog-8606505117319177466.post-64913446218226166502016-11-13T08:08:00.007+00:002016-11-13T08:43:32.913+00:00The Mediation of Migration_18 Nov 2016 London School of Economics<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFyoHirlwT5xA8enRBTkD6qbBPctyPyt9aYj5KoC591P20LWvDbxdc5oQivljGq2kjb2L_taWLkFtjuhofcxmC7PAjQqvQww9ImRXIsRYLK_GzpK54whlwnI8syIqHY0U11HAdM3-ucd_R/s1600/Schermata+2016-11-13+alle+08.38.10.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="134" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFyoHirlwT5xA8enRBTkD6qbBPctyPyt9aYj5KoC591P20LWvDbxdc5oQivljGq2kjb2L_taWLkFtjuhofcxmC7PAjQqvQww9ImRXIsRYLK_GzpK54whlwnI8syIqHY0U11HAdM3-ucd_R/s400/Schermata+2016-11-13+alle+08.38.10.png" width="400" /></a></div>
<br />
<div class="MsoNormal">
<b>An LSE Department of Media and Communications Symposium</b></div>
<div class="MsoNormal">
One million migrants crossed the borders of Europe
in 2015, in, what came to be known as the “refugee crisis”. This
Symposium focuses on the mediation of this “crisis” at a trans-European
and local level, in order to address the questions:</div>
<ul>
<li>
How is “the refugee crisis” communicated in European media? <br />
</li>
<li>
How do refugees appear in “our” media? <br />
</li>
<li>
How do border agents use media in their reception of refugees?<br />
</li>
</ul>
<div class="MsoNormal">
Drawing on findings from the “Migration and
Media” research project, funded by the Dept. of Media and Communications
at LSE, the Symposium is organized as a series of conversations between
LSE scholars and leading migration and media researchers and
practitioners.</div>
<div class="MsoNormal">
The aim of Symposium is to reflect on the
urgent ethico-political challenges of “the crisis”, as these emerge at
the intersection of human mobility, security, care and media. But its
aim is also to enable us to engage with important moments in the
mediation of “the crisis”. These moments are addressed through academic
work but also through creative and journalistic work. </div>
<div class="MsoNormal">
<a href="https://www.eventbrite.co.uk/e/the-mediation-of-migration-tickets-29070009180">Registration</a> reqired (SOLD OUT)</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Programme</b></div>
<div class="MsoNormal">
<b>09:00- 09:30</b> <b>Registration, tea and coffee</b><br /></div>
<div class="MsoNormal">
<b>09:30- 11:00</b> Welcome, Prof. Nick Couldry, Head of Media and Communications Dept, LSE</div>
<div class="MsoNormal">
<b>Keynote speech </b>Dr Vicki Squire, University of Warwick</div>
<div class="MsoNormal">
<b>11:00-11:15</b> Coffee break</div>
<div class="MsoNormal">
<b>11:15 – 12:45<i> </i></b></div>
<div class="MsoNormal">
<b>Panel One: Making or covering “a crisis”? Europe’s media representations </b><i></i></div>
<div class="MsoNormal">
Lilie Chouliaraki, Myria Georgiou and Rafal Zaborowski, LSE </div>
<div class="MsoNormal">
Kai Hafez, University of Erfurt</div>
<div class="MsoNormal">
<b>12:45 – 13:45 </b>Lunch – <i>with poster presentations from the Migration and Media team</i></div>
<div class="MsoNormal">
<b>13.45-15:30 </b></div>
<div class="MsoNormal">
<b>Panel Two: Refugee visibilities and invisibilities</b></div>
<div class="MsoNormal">
Lilie Chouliaraki, LSE</div>
<div class="MsoNormal">
Myria Georgiou, LSE </div>
<div class="MsoNormal">
Frank Johansson, Director of Amnesty International, Finland</div>
<div class="MsoNormal">
<b>15:30-15:45 </b>Coffee break</div>
<div class="MsoNormal">
<b>15:45-17:15</b></div>
<div class="MsoNormal">
<b>Panel Three: Communication architectures of borders and routes </b></div>
<div class="MsoNormal">
Lilie Chouliaraki and Myria Georgiou, LSE</div>
<div class="MsoNormal">
Marie Gillespie, Open University</div>
<div class="MsoNormal">
******</div>
<div class="MsoNormal">
<b>18.00-20.00 Fuoccoamare/Fire at Sea</b></div>
<div class="MsoNormal">
Sheikh Zayed Lecture Theatre, NAB</div>
<div class="MsoNormal">
Introduction and Chair: Pierluigi Musaro, University of Bologna</div>
<div class="MsoNormal">
Film introduced by the Director via videolink </div>
Federica Mazzarahttp://www.blogger.com/profile/14836667896648615035noreply@blogger.com0tag:blogger.com,1999:blog-8606505117319177466.post-84448794783018041652016-11-13T08:08:00.006+00:002016-11-13T08:25:19.568+00:00Dialogues on Migration_17 Nov 2016 4pm. London School of Economics<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu8t3a5bQxLsO0sADjStJtzaOcOVTle1ULIRTYKH5BgfoW52RWevX1L2JL8DmQQhhx3aNTHkm5IjBPNaSlfVh9iiBTcMSDOS8w2B6wnbJXt1yh87jnMqRBiPeqeYi8WRE-SXF0IKmtIjGm/s1600/Schermata+2016-11-13+alle+08.20.40.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="118" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu8t3a5bQxLsO0sADjStJtzaOcOVTle1ULIRTYKH5BgfoW52RWevX1L2JL8DmQQhhx3aNTHkm5IjBPNaSlfVh9iiBTcMSDOS8w2B6wnbJXt1yh87jnMqRBiPeqeYi8WRE-SXF0IKmtIjGm/s400/Schermata+2016-11-13+alle+08.20.40.png" width="400" /></a></div>
<span class="fsl">This panel is designed to prompt a discussion about
research on the move: the challenges mobility poses for fieldwork and
analysis, and the scope it offers for creative responses. Researching
migration, asylum, and mobility from media and cultural studies
perspectives through embodied methodologies requires close attention to
liminality, silence, and experiences of dislocation. <br /> <br /> Presentations: <br /> <br />
Tracing the transcultural subjectivity of unaccompanied refugee minors
through ethnography, Anna-Kaisa Kuusisto-Arponen, University of
Tampere/LSE<br /> <br /> Debris: collaborative explorations of abandoned objects from Lampedusa, Karina Horsti, University of Jyväskylä/LSE<br /> <br /> Documentary film screening: WRECK (2016, 10 min., Direct<span class="text_exposed_show">or Jan Ijäs, script: Karina Horsti and Jan Ijäs)<br /> <br /> Introduction: Professor Lilie Chouliaraki,<br /> Chair: Anna Roosvall, Associate Professor, Fellow (Stockholm University/LSE)<br /> Discussant: Pierluigi Musaro, Associate Professor, Fellow (University of Bologna/LSE)<br /> <br /> 17th November 2016, 4pm-6pm<br /> Silverstone Room, Department of Media and Communications<br /> Tower 3, 7th floor<br /> Image: courtesy of Jan Ijäs</span></span>Federica Mazzarahttp://www.blogger.com/profile/14836667896648615035noreply@blogger.com0tag:blogger.com,1999:blog-8606505117319177466.post-12308104069909321812016-11-13T08:08:00.005+00:002016-11-13T08:33:14.438+00:00 ARCHIVE-AS-METHOD SALON-Italian Colonial Heritage UoL 5 Dec<div class="separator" style="clear: both; text-align: center;">
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<b><span class="_4n-j fsl">ARCHIVE-AS-METHOD SALON</span></b><br />
<span class="_4n-j fsl"> Working with Visual Documents of the Italian Colonial Heritage</span><br />
<span class="_4n-j fsl"></span><span class="_4n-j fsl"> <br /> Monday 5th of December 2016, 3.30-6.30pm<br /> <br /> Presentations, short-film screenings and Q&A with: <br /> Alessandra Ferrini, <a data-hovercard="/ajax/hovercard/user.php?id=100002954824975&extragetparams=%7B%22directed_target_id%22%3A1848772248675651%7D" href="https://www.blogger.com/null">Gianmarco Mancosu</a>, Martina <a data-hovercard="/ajax/hovercard/user.php?id=1485067555&extragetparams=%7B%22directed_target_id%22%3A1848772248675651%7D" href="https://www.blogger.com/null">Melilli</a> and Jacopo Rinaldi <br /> <br />
This Salon brings together artists, filmmakers and historians in order
to discuss methodological approaches to the exploration and activation
of colonial, archival material. Given the recent interest in the Italian
colonial past, the salon aims to shed light onto a previously
marginalised historical period.<br /> <br /> The first part of the salon
will introduce to the fascist imperial project and its legacy through
Gianmarco Mancosu's research based on the newsreels o<span class="text_exposed_show">n
the Ethiopian War of 1935-36 and Alessandra Ferrini's essay film and
pedagogic project Negotiating Amnesia (2015), which is based on archival
photographs and propaganda postcards from the same period. The second
part of the salon will kick off with Martina Melilli's presentation of
an ongoing body of work stemming from her family's history in the Libyan
colony and in Italy, after the expulsion of Italians from Libya in
1970. It will be followed by Jacopo Rinaldi's problematisation of the
truthfulness of archival material, through his research in the Pirelli
Historic Archive (Milan), and the production of works exploring the
rubber industry. To conclude, the four researchers will be in
conversation and will open up the debate to the public.<br /> <br /> Free, but seats are limited. To book a place, please email us at mnemoscape@gmail.com <br /> <br /> University College London, SH243, 2nd floor, Senate House, Malet Street, London WC1E 7HU<br /> <br /> ***<br /> <br /> <b>PROGRAMME</b><br /> <br /> 3.30-3.45 Introduction<br /> <br /> 3.45-4.15 Gianmarco Mancosu <br />
"Deconstructing The Imperial Visual Archive: Production, Reproduction,
Resignification Of The Fascist Newsreels On The Ethiopia War." (Includes
screening of newsreels)<br /> <br /> 4.15-4.45 Alessandra Ferrini<br />
"Negotiating Amnesia: Activating Images and Questioning Memories"
(Includes screening of excerpts from Negotiating Amnesia, 2015) <br /> <br /> 4.45-5.00 Break<br /> <br /> 5.00-5.30 Martina Melilli<br />
"TRIPOLITALIANS: building a personal archive to narrate a shared
story." (Includes screening of short films from TRIPOLITALIANS)<br /> <br /> 5.30-6.00 Jacopo Rinaldi<br /> "Can an Archive Lie?" (Includes screening of A Romance of Rubber, loop, 2015)<br /> <br /> 6.00-6.30 Q&A and Open Discussion<br /> <br /> ***<br /> <br /> BIOS<br /> <br />
<b>Alessandra Ferrini</b> is a London-based artist, researcher and educator,
co-founding director of the research platform and online magazine
Mnemoscape. Her work is rooted in lens-based media, (post)colonial and
memory studies, historiographical and archival practices. She holds an
MA in Art ad Visual Culture from the University of Westminster.<br /> <br />
<b>Gianmarco Mancosu </b>is PhD Student at the University of Warwick. His
research interests are the representations of colonialism in Italy
between Fascism and the Republic, and related recollections in
contemporary visual products. He is currently working on a monograph
about the Istituto Luce’s 'Reparto Foto-Cinematografico Africa
Orientale', which he studied in his first doctoral work (Cagliari,
2015). <br /> <br /> <b>Martina Melilli</b> is an Italian visual artist and
filmmaker. She graduated with a master degree in Visual Arts (IUAV),
with a major in Documentary and Experimental Cinema (LUCA School of
Arts). Her research deal with the representation of the individual and
collective imagery in relation with memory and “belonging”.<br /> <br />
<b>Jacopo Rinaldi</b> is an artist and researcher living in Rome. He graduated
in Milan with a master’s degree in Visual Art and Curatorial Studies at
Naba. His research concerns the relation between memory, oblivion and
architecture in the transmission of knowledge.</span></span>Federica Mazzarahttp://www.blogger.com/profile/14836667896648615035noreply@blogger.com0tag:blogger.com,1999:blog-8606505117319177466.post-51440440565522192772016-11-13T08:08:00.004+00:002016-11-13T08:24:02.200+00:00#MyEscape_Film screening Goethe Institut London 14 Nov 2016<br />
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For many refugees a mobile phone is indispensable, if not a lifesaver.
They use it to organise their travel, communicate with other refugees
and their relatives back home, or to store memories of their lives
before they started their journey. The documentary <i>#MyEscape </i>brings
together a number of accounts of refugees who have made their way to
Germany from Afghanistan, Pakistan, Syria, and Eritrea via different
routes, using their mobile phones to record their journeys. The
documentary joins the footage they filmed with their reports given
retrospectively during extended interviews after their arrival in
Germany. We learn about their reasons for leaving, the dangers and
difficulties they encountered during their travels as well as about
their first impressions when arriving in Germany. The film ends with a
short overview of how the protagonists settled in and what kind of
activities they were engaged in at the time, leaving open how their
lives would develop thereafter.<br />
<br />
<i>Germany 2016, colour, 90 mins. With English subtitles.<br />
Director: Elke Sasse.</i><br />
<br />
<b>The screening will be followed by a Q & A with der director Elke Sasse<br />
hosted by Marta Welander, Founder, Refugee Rights Data Project (RRDP)</b><br />
<br />
<b>Buy tickets <a href="https://www.eventbrite.co.uk/e/myescape-tickets-29070202759?ref=ebtnebtckt">here</a> </b><br />
<br />
Location: Goethe-Institut London<br />
50 Princes Gate <br />
Exhibition Road <br />
London <br />
SW7 2PH Federica Mazzarahttp://www.blogger.com/profile/14836667896648615035noreply@blogger.com0