Tag Archives: identity
First Contract
2010 | Series of 9 colour photos, each 77 cm x 70 cm (unframed) | Edition of 5 + 2 AP

First Contract (2010) is part of a work group that includes the object, Chain Reaction, and the video installation, Little Mountain. It consists of a series of 9 photographs concerned with the complex ramifications of the Western insistence on quantifying land, thus transforming it from being primarily a place which confers local identity and a place to live into an object of trade and speculation. The photos also reflect on the colonial dispossession of the original inhabitants of the north American continent, especially the First Nation peoples of Canada by using ‘flagging’—plastic ribbons normally used to mark property borders—in lines or triangles and ironically re-creating the Euclidian geometries of surveyor rituals of appropriation and possession. This is still contested territory. Read More…

I_D_Entities
2004 | 13 colour photos (6 digitally altered photos, 7 text images). Each approx. 60 x 70 cm (framed). Image size approx. 40 x 50 cm.

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…

CHANGE? CHANGE!
2001 | Found object | Pre-Euro double-sided banner advertising currency exchange, black felt marker.
Dar-el-Beida
1996 | 16mm film and video (PAL) | black and white | stereo | 2min 40sec

passportsMade 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…