The series re-works 6 hand-coloured photographs from the end of the 19th century showing Heligoland, Norderney and Venice. Inserted into the settings (tourist, travel and holiday destinations) is a single image of a young woman, a Berber from North Africa, probably Algeria. It is taken from a two volume work published in Berlin in 1910 – Das Weib im Leben der Völker by Albert Friedenthal, most “from my own collection,” as the author says.
Interwoven with these historically contiguous elements are seven texts in the form of separate, extended quotations from SCRAM: Relocating under a new Identity by James S. Martin. The short ‘captions’ at the bottom of the photos themselves also come from this source. Published in Washington in 1993, the book is effectively a handbook with legal and not so legal tips about how to divest oneself of one identity and acquire another. Wiping the slate clean. Building a new life. Starting again somewhere else. It demands the total erasure of one life and the assumption of another, justifying it by the fact that the authorities provide the same “service” and relocation possibilities to criminals. Read More…
Made as a contribution to FilmArt Takes Position: Alien/Nation.
While Casablanca has much to do with male power and friendships, propaganda morality and adventure, Dar-el-Beida concerns the harried feelings of being a refugee/outsider, the experiences of those in the background of the Hollywood film. They exist in an atmosphere of threat, always on the move but never getting anywhere; their identity is violated and their nationality arbitrarily changed. In short they are the powerless, dependent on chance, corruption or sexual favours to save them. In Dar-el-Beida (the Latinised Arab name for Casablanca), Bogie asks, “do you want my advice?” His cynical answer (in Casablanca) is the unspoken reality of Dar-el-Beida. Read More…