Loved this Maz! I found Misman's mosaic and Khalili's constellations particularly interesting.
I thought the use of censorship in the mosaic piece was somewhat ironic, as it's unlikely that you'd be able to identify anyone from a mosaic. I don't know what this could suggest? Also, protecting cultural heritage seems to be a fairly apolitical act (well, maybe not in Communist China, but still). Again, why the need for censorship?
As for the constellations - are constellations just an interesting visual parallel to a journey on a map or is there a deeper significance to the choice of a constellation?
I wonder if the censorship in the mosaic is less to do with a literal removal of the possibility of someone recognising them and more a commentary on the fact that during the Syrian civil war the targeted destruction of cultural heritage by ISIS was a deliberate act. And so protecting it ceases to be apolitical and becomes dangerous.
I suppose protecting cultural heritage is fairly apolitical in European society. But even then, the protection or destruction of works of cultural value can be used as a means to demonstrate politically. The Just Stop Oil protests on works of art being an example.
The constellation is definitely a nice visual parallel. Also it’s a very specific type of ‘map’ that transcends typical boundaries and so provides a powerful juxtaposition when used for migrant’s journeys that are determined by borders. Beyond that, there may be links in terms of ideas surrounding destiny, perhaps?
So good - love this summary. I also thought ‘love as a glass of water’ was particularly memorable too- I was really touched by it !
Thank you! Yes - it felt so intimate and calm but also striking.
Loved this Maz! I found Misman's mosaic and Khalili's constellations particularly interesting.
I thought the use of censorship in the mosaic piece was somewhat ironic, as it's unlikely that you'd be able to identify anyone from a mosaic. I don't know what this could suggest? Also, protecting cultural heritage seems to be a fairly apolitical act (well, maybe not in Communist China, but still). Again, why the need for censorship?
As for the constellations - are constellations just an interesting visual parallel to a journey on a map or is there a deeper significance to the choice of a constellation?
Can't wait to read Part 3 :)
Thank you! These questions have got me thinking…
I wonder if the censorship in the mosaic is less to do with a literal removal of the possibility of someone recognising them and more a commentary on the fact that during the Syrian civil war the targeted destruction of cultural heritage by ISIS was a deliberate act. And so protecting it ceases to be apolitical and becomes dangerous.
I suppose protecting cultural heritage is fairly apolitical in European society. But even then, the protection or destruction of works of cultural value can be used as a means to demonstrate politically. The Just Stop Oil protests on works of art being an example.
The constellation is definitely a nice visual parallel. Also it’s a very specific type of ‘map’ that transcends typical boundaries and so provides a powerful juxtaposition when used for migrant’s journeys that are determined by borders. Beyond that, there may be links in terms of ideas surrounding destiny, perhaps?