The exhibition hosts a series of sculptures and drawings created imagining an unpossessable land like the High Seas. These areas of the planet are among the few not subjected to the sovereignty of any state and recognized as a precious resource for the entire humanity. They are a common good which, thanks to international agreements could be crossed and used for research aims and resource exploitation.
The artist identifies those areas as voids full of potential. These, on the one hand, remind us of the inappropriability of the planet, of which each species is a guest, and on the other hand – in line with her project The Fountains of Za’atari – which was developed in Jordan in one of the biggest Syrian refugee camps, they remind us of the necessity of a paradigm shift, able to serve this time.
From the exceptional and paradoxical space of a refugee camp, can we believe a new paradigm shift can come about? This would protect citizens, no longer according to the principle of territorial belonging, like in the Nation-State, but according to the right to migrate.
It would be a different idea of citizenship, given back to the City and founded on the condition of exile; on a new historical conscience in which human beings can recognize themselves as a foreign resident, beyond the division of the planet into nation states and towards universal citizenship.
This research has given life to the series of glass sculptures that is at the heart of the exhibition Inhabiting without Belonging: a statement through with the writer Silvia Bottani has defined the artist’s recent thoughts and her work on the Za’atari refugee camp.
In particular, the series The High Seas of the Planet Earth illustrates the areas of High Seas on the planet which, from being a conventions, become therefore emerging lands, islands, archipelagos. The work arises from the desire to give consistency and specific weight to lands currently regularized – in the same way in which the artist hopes all the emerging lands will be regularized in the future.
These sculptural works can be displayed from any side, tilted, hung, lifted, interpreting in this way the nature of sculpture. Therefore, they are contextually anchored, but they should still be considered as objects unlimited by their support – like a foreign resident, who is living without belonging.
The bronze bas-relief Inhabiting without Belonging is the enlargement of the handwriting of a little girl born in Syria in 2011, right on the days of the outbreak of the revolution. The exhibition is in fact dedicated to her, because today she represents the personal and political condition of exile. The naked Man and without a State is like gold, which emerges from bronze if it is touched constantly.
At the very end, a wooden oak oval frames a planisphere in which the areas of the High Seas of the Planet Earth are highlighted. The use of a pure humber pigment underlines how the emerging lands are the main aim of this speculation.
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