Abstract
“Border Farce“ is a video artwork by Safdar Ahmed in collaboration with heavy metal guitarist Kazem Kazemi and cinematographer Alia Ardon, featuring performances and music by Hazeen, anti-racist Muslim death metal band founded by Safdar Ahmed and Can Yalcinkaya. It is shown as a 2-video-projection as part of the leading art exhibition documenta fifteen in Kassel.
Kazem Kazemi is an Iranian refugee who was incarcerated in Australia’s offshore prison camp on Manus Island, in Papua New Guinea for six years. The video work documents parts of his life. Safdar Ahmed's artistic practice brings into question how the 'other' is historically and aesthetically represented. Furthermore, he wants to critically interrogate the tropes undergirding Australia’s (and much of the Euro-American Anglospheres‘) burgeoning white-nationalism and the construction of racialised minorities. While one of the two video projections mimics the standard framing that accompanies narratives of migration, the other focuses on the concept of 'affective witnessing'. This is about privileging the bodily encounter with experience, which is often pushed aside in the quest for factual narrative retellings. In this sense the second video projection explores how experiences of intensity are passed from body to body, from person to person, through sound and gesture.
Kazem Kazemi is an Iranian refugee who was incarcerated in Australia’s offshore prison camp on Manus Island, in Papua New Guinea for six years. The video work documents parts of his life. Safdar Ahmed's artistic practice brings into question how the 'other' is historically and aesthetically represented. Furthermore, he wants to critically interrogate the tropes undergirding Australia’s (and much of the Euro-American Anglospheres‘) burgeoning white-nationalism and the construction of racialised minorities. While one of the two video projections mimics the standard framing that accompanies narratives of migration, the other focuses on the concept of 'affective witnessing'. This is about privileging the bodily encounter with experience, which is often pushed aside in the quest for factual narrative retellings. In this sense the second video projection explores how experiences of intensity are passed from body to body, from person to person, through sound and gesture.
Original language | English |
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Place of Publication | Kassel, Germany |
Publisher | Documenta Fifteen |
Media of output | Film |
Size | 15:55 |
Publication status | Published - 18 Jun 2022 |
Event | Documenta (15 : 2022) - Kassel, Germany Duration: 18 Jun 2022 → 25 Sept 2022 |
Keywords
- Refugee camps
- Heavy Metal Music
- Immigration Detention
- Affective Witnessing