Roshini Kempadoo - UGRhum736/revista electronica/numero14/dossiers... · 2012. 4. 14. · 88...
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88 Roshini Kempadoo 89 89 All from the artwork: Arrival: Part 1 (2010) Medium for all prints: Giclée inkjet print Sizes for all prints: 60cm x 33.75cm 05Dossier Guyana. Vive y trabaja en Londres This installation imagines and reflects recent experiences by African women having travelled by boat from North Africa to Spain across the Mediterranean (2005 – 2010). Arrival: Part 1 reflects the ‘irregular’ migratory route taken in cayucos (small boats) from North and central West Africa to the Spanish coastland. Persons surviving the journey tell of unprepared and brutal experiences - of desperation, tragedy, hope and determination. The media coverage of sunbathers looking aghast at men, women and children as survivors of the crossing have become familiar to us living in Europe – disguising a more complex and yet continual story of migration and fantasy – the desire and chance of a better quality of life. This old migratory route across the Mediterranean has become a recurring visualised trope rehearsed by the popular media and politicians. The visual representation of boat people arriving is construed as central to the concerns of European citizenship, economic recession, bankruptcy, and potential threat to national security.
Transcript of Roshini Kempadoo - UGRhum736/revista electronica/numero14/dossiers... · 2012. 4. 14. · 88...
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RoshiniKempadoo
8989
All from the artwork: Arrival: Part 1 (2010)Medium for all prints: Giclée inkjet print Sizes for all prints:60cm x 33.75cm
05Dossier
Guyana. Vive y trabaja en Londres
This installation imagines and reflects recent experiences by African women having travelled by boat from North Africa to Spain across the Mediterranean (2005 – 2010). Arrival: Part 1 reflects the ‘irregular’ migratory route taken in cayucos (small boats) from North and central West Africa to the Spanish coastland.
Persons surviving the journey tell of unprepared and brutal experiences - of desperation, tragedy, hope and determination. The media coverage of sunbathers
looking aghast at men, women and children as survivors of the crossing have become familiar to us living in Europe – disguising a more complex and yet continual story of migration and fantasy – the desire and chance of a better quality of life. This old migratory route across the Mediterranean has become a recurring visualised trope rehearsed by the popular media and politicians. The visual representation of boat people arriving is construed as central to the concerns of European citizenship, economic recession, bankruptcy, and potential threat to national security.
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9090
From: Roshini Kempadoo, 14 Shell Road, London SE13 7TW, England
mobile: +44 (0)7967 116192. landline: +44 (0)20 8692 0932
email: [email protected]
On each screen an interlinking narrative imagines what could have happened, what we might know about the crossing, and what women might have gone through in making the journey. The work is self-reflexive to provoke an insight into the contradictory and contested effects of economic migration and the impact of un-tenuous co-existence between extreme wealth and poverty that perpetuates our everyday experiences. The challenge is to give a sense of what continues to take place, whilst acknowledging the limits of a mediated and European orientated point of view. Arrival: Part 1 is a commentary from a ‘situated perspective’ – one that is from a ‘limited location and situated knowledge’ which ‘…in this way we might become answerable for what we learn how to see’ (Haraway, 2002, p. 678).
