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León, July 7, 2018.
Dear Ophelia:
Exile is described as the separation of a person from the land in which she lives, and exile as an expatriate , usually for political reasons. We use the term migration to refer to the geographic movement of individuals or groups, usually for economic or social reasons, and therefore the migrant is the person who migrates. These four terms, which seem to complement or be a consequence of others, refer in any case to the abandonment of the land of origin of a person or group to settle in another country and start again.
Refuge versus the storm. The exile glances of the MUSAC collection aim to share with the spectator the remains of uprooting, melancholy and remoteness produced by the separation of the earth, culture and affections from the beginning, and aspire to do it through different stories of artists with a precise sensitivity, they focus on the individual and collective feeling of desire. The exhibition, which can be visited from June 9, exhibits a total of 18 works by 15 artists from the MUSAC and contemporary art collections of the Castilla y León Junta: Babi Badalov, Agustín Casillas, Sebastián Gordín, Chus Gutiérrez, Diango Hernández, Isaac Julian, Leonilson, Rogelio López Cuenca, Ángel Marcos, Shirin Neshat, Thomas Ruff, Eloisa Sanz, Hiraki Sawa, Do-Ho Suh, Isidro Tascón, Darío Villalba.
The International Organization for Migration (IOM), He noted that in 1965, an estimated 75 million migrants worldwide, a figure that in 2002 had risen to 175 million because of the process of globalization and the change of perspective in the economic and social conditions of individuals. Currently, this figure has increased to 245 million and should continue to increase, because the variables that determine human mobility (economic differences, hunger, totalitarian oppression, xenophobia, repression, wars of all kinds …) will tend to consolidate or, worse, intensify. This same international organization indicates that in the year 2050 the number of international migrants will exceed 400 million.
Migration, expatriation and exile are three constant in the history of humanity, and today, as always, they continue affecting millions of people . Just look at the news to realize that it is a reality that we often turn our backs, especially in the face of the shame generated by our own reaction and the stories of xenophobia, racism, violence and precariousness that , as stigma,
This mobility and permanent displacement of people, information, cultures has generated the spread of a generalized and acute feeling of nostalgia. Svetlana Boym emphasizes that this nostalgia can be of two types; an unthinking and restorative who sees himself as truth and tradition and who seeks to rebuild the lost house and fill in the gaps of the past – that is the nostalgia of nationalism itself – and another reflection, which focuses more about desire, loss and in the imperfect process of remembrance. The latter is more related to cultural and individual memory.
Exile, voluntary or forced, decontextualizes people from their natural "environment" and generates a process of disintegration of their socio-cultural identity, so that it produces a distance not only from the new "home" "But also in relation to the memory of the house that they left behind
The Refugio a tormenta exhibition articulates around three lines of argument that are not not necessarily reflected in its spatial distribution, since all works are susceptible to wider readings that allow the viewer to share their impressions about the remoteness of uprooting.
On the one hand, it refers to the expectations, the illusion, the bonanza dream and the security that motivates the exit, saves life, nostalgia for the end of difficulties, respect for ideas , the tolerance to the difference, the integrity … the siren song of the most prosperous societies. In this line of argumentation would be the works of Ángel Marcos Around Dream 15 and Around Dream 23, in which reference is made to New York City as a new land of promise that attracts countless emigrants who see it. the first step towards the realization of the American dream rebatted. There is also a small piece of Agustín Casillas, Emigrantes, a sculpture in which, in the same mix of concrete, two people are shown carrying their belongings in a gesture that manifests a quick escape. On the other hand, the work of Rogelio López Cuenca No / W / here, who, playing with the language and badociating it with an old image that represents some migrants in the process of the journey, highlights dizziness and uncertainty of the exit. The combination of letters may give rise to the following ideas; not where, now where, not here …
Finally, Isaac Julien's play Omeros Paradise tells the experience of a round trip Caribbean trip to London's 60s and 60's. discusses the adaptation issues experienced by the protagonist during the tour. This piece also refers to the difficulties of adaptation arising from the ignorance of the language of the place of reception. Language is one of the determinants of cultural identity and is therefore essential to integration. In this sense, the book Babi Badalov Textile Poetry deals specifically with this issue, the barriers and limits of language and its ability to create boundaries on the one hand and new realities of life. somewhere else. In addition, the artist can not dissociate his experiences with the language of his own life, the reality of permanent exile and the political refugee speaking 7 different languages. On the other hand, in Isaac Julien's play, there is an express reference to the language when the protagonist of the video must be expressed in English
A second line of argumentation would address the desire, the need for roots and the desire for abandonment, the perpetual feeling of belonging to neither of the two houses, which develops once settled in the new earth; or because it is confirmed that the dream was not such, either because the impossibility (or the actual lack of desire) of the return amplifies the goodness of what remains. In this section we find the work of Chus Gutiérrez El inmovil viaje, in which the artist makes an emotional portrait of the initial experience and the pain of the abandonment of different Latin American émigrés installed in Madrid, through letters that they write to the family that they left behind. On the other hand, the works of Diango Hernández Leaving Room and Silla Azul II by Eloísa Sanz Aldea deal with fragmentation and how an "all" party can be supported but never completed. For his part, the piece from Do Ho Suh 348 West 22 Apt A, New York, NY 10011 (hallway), which reproduces part of his apartment in New York, manifests the need to feel at home; the need to "your home" wherever you are and therefore to design your apartment in New York as a tent that can be mounted anywhere and give you shelter and shelter. Also the works of Hiraki Sawa Eight minutes and Dwelling work on the concept of displacement, mobility, the melancholy that entails and the need to feel a home.
Finally, in this section of the story is also the play by Isidro Tascón Heimweh, in which he reproduces the ruins of the Hall of Mirrors of Ballroom Clärchens Ballhaus, as it was after the bombing of the Second World War. With this piece, the artist reflects on the pbadage of time and how buildings become the memory of history present in our time, witnesses of past events that have marked the lives of cities and their inhabitants . In this case, Isidro Tascón also alludes to the double exile lived by the inhabitants of Berlin with the construction and subsequent demolition of the wall, one of the many walls of shame built throughout the twentieth century.
The last section of argumentation refers to exile as a condition, understood as an ostracism used as a punishment to the other, to the other, to the one who does not think not the same thing, to the one who expresses it and to its expression is a minority. against the current … whoever opposes the thought alone is what it is. As in the previous case, the works included here are interpreted from one of their multiple and possible meanings, but in no case should they be reduced to a single point of view.
In this argument, we find the work of Shirin Neshat The Last Word, in which with exquisite lyricism we attend the summary trial of a woman in which all judges are men and in which she is accused to be dangerous. The woman remains silent until she makes a last plea in the form of a poem recited in Farsi defending herself with the word, precisely, the word that had been denied. This play tells the story of Shahrnush Parsipur, acclaimed for his novel Women Without Men, imprisoned under the Shah regime and fundamentalism of the Islamic Republic of Iran, and then exiled to the United States
] in this same line is also the work of Leonilson Sua montanha inner protector, in which a human figure with a volcano in his chest is protected, inside a mountain, from within. a series of eyes that look at it and throw it away looks like a kind of rain. Leonilson thus manifests his need for inner refuge and self-affirmation in the face of external judgment.
The work of Darío Villalba Místico represents one of the many "excluded" social, separated from society either by madness, crime, misery, disease and pain. This work is included in this section and in the exhibition as a metaphor for perennial and endemic exile to which marginality entails. In the same sense we work with the work of Ahmed Pierre Gonnord. Finally, the work of Sebastián Gordín Justine represents the performance of Justine Moritz; wrongfully accused of one of the crimes committed by the monster created by Victor Frankenstein in Mary Shelley's novel. Justine makes a false confession of the crime, unable to badert her innocence before a society that has already issued a judgment and seeks to be guilty before the impossibility of self-criticism. In the same way, the monster itself is only the responsibility of the same company that rejects the strange without daring to deepen its understanding.
Refuge facing the storm. Exile from the MUSAC Collection
Artists: Babi Badalov, Agustín Casillas, Sebastian Gordín, Chus Gutierrez, Diango Hernandez, Isaac Julien, Leonilson, Rogelio Lopez Cuenca, Angel Marcos, Shirin Neshat, Thomas Ruff, Eloisa Sanz, Hiraki Sawa, Do -Ho Suh, Isidro Tascón, Darío Villalba
Commissioners: Koré Escobar.
Place: MUSAC. Room 1. Avda Reyes Leoneses, 24. 24008 Leon. June 9 – November 18, 2018.
Activities related to the exhibition
– Animated stories about life stories. Stop motion workshop for Pequeas MUSAC. July 17-20 (Pequeamigos from 5 to 7 years old). Free activity prior registration via www.musac.es
Opening hours: Tuesday to Friday from 11:00 to 14:00 and 17:00 to 20:00. / Saturdays, Sundays and public holidays from 11:00 to 15:00 and from 17:00 to 21:00 Monday closed for weekly rest
A big hug from our beloved and educated Spain,
Félix José Hernández.
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