{"id":47173,"date":"2021-06-08T15:29:01","date_gmt":"2021-06-08T18:29:01","guid":{"rendered":"https:\/\/revistazum.com.br\/uncategorized\/a-leveza-do-lar\/"},"modified":"2022-06-16T16:29:06","modified_gmt":"2022-06-16T19:29:06","slug":"a-leveza-do-lar","status":"publish","type":"post","link":"https:\/\/revistazum.com.br\/en\/revista-zum-18\/a-leveza-do-lar\/","title":{"rendered":"The lightness of the home"},"content":{"rendered":"\n

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S\u00e9rie Ocupa\u00e7\u00e3o<\/em>, n\u00ba 32, Al-Khalil (Hebron), Palestina, 2016-17.
Casa da fam\u00edlia Samih e May Da\u2019ana, bairro de Wadi al-Nasarah, Al-Khalil, 17\/12\/2016. Samih, May Da\u2019ana e os cinco filhos moram ao lado do assentamento israelense Kiryat Arba. Por raz\u00f5es de seguran\u00e7a, o ex\u00e9rcito de Israel limpou o terreno, transformando-o em uma terra de ningu\u00e9m, acess\u00edvel apenas aos soldados e seguran\u00e7as do assentamento. Depois de terem sido atacados v\u00e1rias vezes com pedras e tiros de espingarda, os Da\u2019ana n\u00e3o est\u00e3o mais usando as salas que d\u00e3o para o povoado. Os soldados do ex\u00e9rcito israelense costumam ir \u00e0 casa dos Da\u2019ana, inclusive para passar a noite.<\/p><\/div>\n

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Since the past two decades Ahlam Shibli\u2019s photographic work has become one of the sharpest and most insightful of the contemporary art field. Her work has been presented in solo and group exhibitions internationally. Born in 1970, in Palestine, Ahlam Shibli has produced many different series of photographs whose main concern is the contradictory implications of the notion of home. To deal with these contradictions, Shibli\u2019s work explores the urgent need of representing what is denied representation, taking into account, at the same time, that the photographic recording needs to be cautious not to objectify and victimize the subjects of state violence.<\/p>\n

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S\u00e9rie LGBT no Oriente<\/em>, n\u00ba 16, 2004<\/p><\/div>\n

In 2013, you presented the largest exhibitions of your work, organized by MACBA (Barcelona Museum of Contemporary Art), Museu de Serralves (Porto) and Jeu de Paume (Paris), under the title Phantom Home<\/em>. On this occasion, you put together several works tracing the resistance against the loss of home and the efforts to find new ways to exist and survive. Could you develop this idea?<\/h4>\n

While my work deals with the loss of home and the fight against that loss, it also addresses the restrictions and limitations that the idea of home imposes on individuals and groups marked by repressive identity politics: both, deprivation and constraint embodied in the notion of home, call for specific efforts to exist and survive. For instance, the bodies of LGBTQT \u2013 lesbian, gay, bisexual, transgender, queer, and transsexual \u2013 people from Oriental societies in the work Eastern LGBT <\/em>(2004-2006) and the bodies of children in the work Dom <\/em>Dziecka. The house starves when you are away <\/em>(2008) become the primary home despite the precarious lives and the violence these groups are exposed to. Because of a lack of recognition, they employ their bodies to create conditions of existence that are opposed to the values and expectations of the majority.<\/p>\n

Or a work concerned with a colonial conflict, like Trauma<\/em>, shows monuments that commemorate members of the French Resistance against the Nazis together with French fighters in the colonial wars against peoples who demanded their own independence. The city of Tulle, in south-central France, is marked by celebrations that commemorate the victims of a brutal massacre under Nazi occupation as well as those who, immediately after the Liberation, fought against the independence of Indochina and Algeria. First of all, a contradiction is shown with this: this bears witness to claims for a home that are valid only for the French people but not for peoples in Africa or Asia; secondly, the fact that the French would accept the loss of their homes in the colonised territories only when it is levelled against winning back their home from the German occupation.<\/p>\n

For the Palestinians, confronted by an overwhelming colonial power, the state of emergency is the norm rather than the exception. The work Death <\/em>(2011-12) indicates that the Palestinians\u2019 body has become their only means of production. To fight against negation, the \u201cwretched of the Earth,\u201d as the Martiniquais writer Frantz Fanon calls them, are forced to negate what is dearest to them, ultimately not only their houses but also their lives.<\/p>\n

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S\u00e9rie Depend\u00eancia<\/em>, n\u00ba 20, Barcelona, Espanha, 2007.
Rua Doutor Roux, Sarri\u00e0, Barcelona, 27\/7\/2007. A argentina Eugenia varre a sala de estar de seus patr\u00f5es, Pilar Morales Vila e Oleguer Gal\u00ed Figueras.<\/p><\/div>\n

Six years after this show, is the idea of home still pertinent in your work?<\/h4>\n

Yes, I am still interested in the implications of the notion of home. In 2016-17, I made the work Occupation<\/em>, whose foundation is the destruction of Palestinian livelihood in al-Khalil (Hebron) and the occupied territories by the Israeli colonial regime and the Zionist settlers. The work traces the ways in which the Zionist settlers and the Palestinian population live in an asymmetrical relationship in al-Khalil, bound together by the limited space of the Old Town and confined to an environment defined by physical borders and perverse regulations. The work records the signs of a disturbing duplicate inversion. On the one hand, the images indicate how the settlers \u2013 who have invaded the Palestinians\u2019 territory, preventing them from using their property and disrupting their freedom of movement \u2013 create a prisonlike space for themselves. On the other hand, the photographs reveal how the Palestinians use the hardware of the separation implemented by the Israeli occupation \u2013 sheet metal, razor barbed wire, barrels filled with cement, fences, grids, nets, et cetera \u2013 to protect their own public spaces and their homes.<\/p>\n

At the same time, I also made the work Hei<\/em>mat<\/em>, which refers to two groups of people who migrated to Kassel in Germany and the city\u2019s surrounding areas at different times, for different reasons, under different circumstances, and with different expectations. One group is composed of expellees and refugees of German descent who were forced to leave their homes east of the Oder-Neisse line and in Eastern European countries in 1945-46 as a result of the Second World War. Up to fifteen million people were displaced and hundreds of thousands of them lost their lives. The second group is composed of the so-called \u201cguest workers\u201d from the Mediterranean region who were recruited since the 1950s to facilitate the German \u201ceconomic miracle\u201d after the Second World War. These people went to Germany by invitation, which did not, however, spare them and their descendants xenophobic resentment and violence. The most apparent case of this nature is a series of murders committed between 2000 and 2007 by the National Social- ist Underground (NSU).<\/p>\n

The work is concerned with different ways in which members of both groups of migrants behaved when faced with the idea of creating a new home for themselves in a place they did not particularly choose for that purpose: finding success, ignoring the plan, resisting to it, or failing.<\/p>\n

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