LoosenArt Mag / Gallery

Catalogue Exhibition │Millepiani

Posted on January 27 2022

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MIGRATIONS AND THE SHIFTING BORDERS

Exhibition
26 January  —  6 February 2023
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ROBERT MCCUBBIN

Mattresses │ Photography, 2022

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Image is a metaphor for the displaced people of the world, who seek shelter enroute and are often discriminated against and moved on.
- R. MC.

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ROBERT MCCUBBIN

Park Drinkers │ Photography, 2002

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Study relating to dislocation of the person from the dominant culture and value system.
- R. MC.

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KATIE MCTIERNAN
Shelter │ Photography, 2022

I continue to document the difficult journey of Haitians to the USA and the racism faced throughout that journey. These images show Haitians waiting in shelters in the border town of Mexicali, Mexico. Thousands are waiting for a chance to cross on to their final destination, the United States.
- K. MCT.

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POLINA POPOVA
Volga Expanses │ Photography, 2022

My photograph "Volga expanses" is devoted to my beloved Volga River and the city where I was born and raised - Ulyanovsk. With the help of contrasting colors of white and black, this photograph very clearly conveys the boundaries of home and the foreign world, what is inside the coastline and what is outside. This simultaneously conveys the desire to both stay in this secluded place and go explore the world beyond these borders.
- P. P.

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CORALIE MANERI
60 days of war: border Ucraina - Romania │ Photography, 2022

A border is just a line. This is Isacea border// Ucraina – Romania 04.2022 A line that splits one land to another because of a war. Danube’s river barges transport migrants with their pets and backpacks out of danger. It will be the first step to a long journey for most of them, desperately trying to reach safer places worldwide. Most of them think it is just for a while and hope to return to their native country as soon as conditions set up. Instead, many of them will return to Ucraina a few days after, feeling impossible to find a new life far from their homes..
- C. M.

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LEAH STUDINGER
Bist du Anders │ Video, 2021

Habits and interests form and shape each other. This video is dedicated to questions around the self and tolerance for the unfamiliar. An exploration through the author‘s chosen family, using their personal stories. The narratives are intentionally decoupled from the protagonists and combined with personal metaphorical reflections and video recordings.
- L. F. L. S.
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Watch the Video

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AHMAD MALLAH
Stateless │ Video, 2020

Starting from my own skin and going through different technics, I immersed myself in a long journey in search of my identity as a Palestinian artist who was born and raised in Syria before the war once again forced me to flee on another asylum journey until I arrived in the Netherlands in 2014. My art is an exploration of the body, war, diaspora, and belonging. Through my interdisciplinary art practice, I represent my personal experiences as being stateless for a long time. I do not belong to a specific place and time; for me belonging is a dilemma of our existence, a state of emotional and intellectual flux between our human desires for safety and freedom. This flux formulates our contemporary identity and deeply influences our humane fate. In this documentary I am telling personal stories about my past, the war, the refugee journey while tattooing myself using Handpoke tattooing techniques during the first lockdown of the Pandemic in 2020.
- A. M.
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Watch the Video

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JASNA BOGDANOVSKA
Three Fates │ Photography, 2014

Photographed in Iceland – the exact geographical midpoint between my native home in Macedonia and my current home in the US, the work from my series Between Near and Far dovetails personal stories of immigration together with mythological stories about destiny, loss, destruction and creation.
- J. B.

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CLEMENCE B. T. D. BARRET
Ignis Fatuus Aka the Fallacious Promise │ Video, 2018
The bonds of migration and displacement: debts, violence, slavery, and the vicious circle of poverty. Part of 18-12. The 18th of December is International Migrants Day established in 2000 by the United Nations to recognize the large and increasing number of migrants around the world. With Patricia and her baby. Ten years ago, Patricia left Nigeria to escape poverty with a smuggler who wanted to sell her as a prostitute in Europe. On the way, she managed to escape and since then she has been surving in Tangier in Morocco, hoping that one day she will manage to reach the fortress Europe. Adaptation of the lyrics of the song "We're off to see the wizard" by E.Y. Harburg / Harold Arlen.
- C. B. T. D. B
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Watch the Video
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DIANA SCHUEMANN AND JESSICA MORITZ
Inside Out │ Video, 2020
As we both are engaged in interactivity and urban architecture, we wanted to create a piece that relates to our vision(s) and questions about choregraphy and interactions. we came up with the idea of choreography in the white cube as a statement and also as a performance.
 Choreography Based on limited gestures in limited space.
- D. M. & D. S.
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MANUELA COLOMINO
Volver a Volver │ Photography, 2022
There's no greater power than the power of goodbye.
- M. C.
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MANUELA COLOMINO
Trottola │ Photography, 2021
Cosmos from Chaos
- M. C.
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ZELJKO JERNEIC

No Home No Hope │ Photography, 1993

The photo "No home no hope" was taken during the war in Croatia, in the summer of 1993. All the sadness and fear of an uncertain future is visible on the faces of the members of the three-member family. Fatigue and experienced suffering are also present.
- Z. J.

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NADA SERHAN

Flight │ Photography, 2022

Flight is part of the photography series A Suitcase Called Home. I came up with the series as I counted the number of apartments I have lived in due to displacement of wars, work, and education. Born as a refugee, by the time I reached adulthood, I felt my suitcase was home and I functioned only on flight mode.
- N. S.

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KATAYOUN BAHRAMI
Quest │ Photography, 2021
Quest is a series of self-portraits to portray a concept. Without freedom, human identity remains in a complex hesitant state, just as forced hijab plunges all of a woman's rights into the invisible realm. As a result, the struggle to remove the elements that dominate women's bodies, regardless of the consequences. The battle takes this woman to the extent of self-sacrifice in response to this deep feeling. It is about the misogynist laws, to which I refer using symbols. Here I portray the existence of textiles whose role is nurturing and protecting the living. The stones represent obstacles on women's journey to obtain equality. By applying crochet around them, their harshness has become less effective.
- K. B.
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TITO BARAJAS
Cumbiamba Fiesta Queen │ Photography, 2022
The woman portrayed, is the queen of the 1st. Colombian Cumbiamba in Mexico City, organized by Colombian immigrants. My photograph includes a meta-image: the painting in the dress, which is also a portrait of her. My artwork is a meta-portrait. A double portrait. Note: I did't paint the dress.
- T. B.
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DAGMAR GESTER
What Remains │ Photography, 2022
The series What remains (Was bleibt) is the result of my artistic exploration of the conventional ways the theme of flight and forced migration is pictured. I am addressing the big issue of loss of home and identity with a minimalistic approach: the photographic representation concentrates on objects that remain. My work gathers together objects that the migrants have brought with them to their new home - either because they did not want to leave these things behind or because the objects acquired existential significance somewhere along the way. The images are like still life, but supplemented by short texts that recount the name and age of the owner as well as the route by which the depicted object was brought along. The text is in German, as Germany is the refugee’s destination as well as the language of their new home. The owners of these personal possessions are therefore not visually present; it is only through the text they are indirectly brought back into the picture. By remaining out of view, the refugees do not take on the role of representing some particular situation, crisis or catastrophe. The universally existential approach of the work thus dovetails with the unique circumstances of the individual destiny. As personalised objects, they speak directly to the viewer. This way, the individual artwork acts like a portrait and is therefore hold in the upright format, the classic portrait format. The motifs are hung in frames detached from the print; a gap yawns between the print and the picture. This corresponds to the depicted objects, which are divorced from their functions in the refugees’ memory, taking on a new meaning, an almost metaphysical value. The refugee luggage is framed, not the photographs; a space arises between the work of art and the world.
- D. G.
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DAGMAR GESTER
What Remains │ Photography, 2022
The series What remains (Was bleibt) is the result of my artistic exploration of the conventional ways the theme of flight and forced migration is pictured. I am addressing the big issue of loss of home and identity with a minimalistic approach: the photographic representation concentrates on objects that remain. My work gathers together objects that the migrants have brought with them to their new home - either because they did not want to leave these things behind or because the objects acquired existential significance somewhere along the way. The images are like still life, but supplemented by short texts that recount the name and age of the owner as well as the route by which the depicted object was brought along. The text is in German, as Germany is the refugee’s destination as well as the language of their new home. The owners of these personal possessions are therefore not visually present; it is only through the text they are indirectly brought back into the picture. By remaining out of view, the refugees do not take on the role of representing some particular situation, crisis or catastrophe. The universally existential approach of the work thus dovetails with the unique circumstances of the individual destiny. As personalised objects, they speak directly to the viewer. This way, the individual artwork acts like a portrait and is therefore hold in the upright format, the classic portrait format. The motifs are hung in frames detached from the print; a gap yawns between the print and the picture. This corresponds to the depicted objects, which are divorced from their functions in the refugees’ memory, taking on a new meaning, an almost metaphysical value. The refugee luggage is framed, not the photographs; a space arises between the work of art and the world.
- D. G.
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DAGMAR GESTER
What Remains │ Photography, 2022
The series What remains (Was bleibt) is the result of my artistic exploration of the conventional ways the theme of flight and forced migration is pictured. I am addressing the big issue of loss of home and identity with a minimalistic approach: the photographic representation concentrates on objects that remain. My work gathers together objects that the migrants have brought with them to their new home - either because they did not want to leave these things behind or because the objects acquired existential significance somewhere along the way. The images are like still life, but supplemented by short texts that recount the name and age of the owner as well as the route by which the depicted object was brought along. The text is in German, as Germany is the refugee’s destination as well as the language of their new home. The owners of these personal possessions are therefore not visually present; it is only through the text they are indirectly brought back into the picture. By remaining out of view, the refugees do not take on the role of representing some particular situation, crisis or catastrophe. The universally existential approach of the work thus dovetails with the unique circumstances of the individual destiny. As personalised objects, they speak directly to the viewer. This way, the individual artwork acts like a portrait and is therefore hold in the upright format, the classic portrait format. The motifs are hung in frames detached from the print; a gap yawns between the print and the picture. This corresponds to the depicted objects, which are divorced from their functions in the refugees’ memory, taking on a new meaning, an almost metaphysical value. The refugee luggage is framed, not the photographs; a space arises between the work of art and the world.
- D. G.
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EMMA SYWYJ
Man Outside Beijing Train Station, China │ Photography, 2009
This photograph is from a photography series called 'China', it was created during my travels to China. My family are from Malaysia but several generations before me they were originally from China. After I became interested in Chinese contemporary art and culture I travelled to the country and stayed there for a month and a half. I learnt a lot about Chinese art and cuisine and connected with my family’s roots whilst I was there. I got to experience city life in Nanjing, Beijing and Suzhou and spent time in an ancient inn in the countryside and time in the mountains of the Jiangsu province. This photographic series marks my journey of outsider to insider, I photographed subjects I connected with or things that stood out to me.
- E. S.
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MASSON CORALLE
Singular │ Photography, 2014
Expatriate or emigrated: movements generate ambivalences. To feel foreign abroad, and foreign when one returns home. It seems to no longer find its bearings. Today, it is so common to live in another country that one almost forgets the complexity of living elsewhere - not in the country of origin but in another culture, whatever the reasons. The stories of life are singular and the symbols are strong in this context- like the experience of separation and the conflictuality associated with it. Each photograph represents the same person adult twice. Shooting takes place in their current home with a window in the background. The subject appears twice in the image; in daily attire and in a costume reminiscent of the host country, its customs or its symbols.
- M. C.
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YASHODA LATKAR
Everything at Once │ Video, 2022
My work explores the relationship between migration and identity. It embodies a sense of longing and belonging, which comprises many aspects of my identity and imbued with emotions, memories, and artifacts. Moving to the United States feels like a temporary midpoint between parting from ‘there’ and integrating ‘here.’ Through this body of work, I explore the point of liminality becoming consistently ‘permanent’ between ‘there,’ ‘here,’ and ‘nowhere.’ The struggle to find a place called ‘home’ persists, and it becomes the tension between ‘here’ and ‘there,’ resulting in repeatedly having to live in a temporal and spatial liminal space. My creations are focused on the experience of living in an in-between space, belonging ‘nowhere’, embracing the ambivalence even though the sense of being rooted, notions of a permanent home, and traditional routines are challenged. I question the consequences of dislocation, marginalization in the new world, and the loss of self and agency.
- Y. L.
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KEVIN GAYNOR
Brexfast │ Video, 2017
Brexfast and is a video piece that pulls together geography, and global movements. Installed on the northern Irish border, the EU flag is re-created on sliced bread. The work is then unmade by birds from both sides of the border, in conflict with one another to feed. Engaging with the site specific location, the work becomes a momentary focal point of international relations, and how the politics of the day, warp and shift national borders.
- K. G.
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GIOVANNA GIULIA SIMEONI
Melting Pot │ Photography, 2012
Treptower Park, Berlin. Different species of birds, the migrators for excellence, rest all together at the narrow interface between snow and water, disregarding their different colour, provenience and destination. Hence, the melting line separating solid ice and liquid water assumes the role of an interphase and hosts a curious melting pot of animal cultures.
- G. G. S.
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YAN JIN
Cremeschnitte │ Video, 2021

Cremeschnitte is a video essay exploring the dialectical relationship between language, culture and geopolitics, how language is constructed and restructured by culture, as well as how cultural heritage transcends the border and constraints within ethnic or social groups, meanwhile questioning how borderline is drew on map where there’s no physical dividing line.
- Y. J.

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Watch the Video

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