Tragedy struck yesterday as a boat of migrants attempting the perilous Atlantic route from Senegal to Europe, sank near the Canary Islands. Of the 60 reported onboard, only nine were rescued.
Recent incidents - including the discovery of nine bodies off Brazil's coast a fortnight ago, probably from Mauritania and Mali, but arrived in Brazil after drifting across the Atlantic - underscore the deadly nature of this dangerous route.
As seen in the last few posts, migration is one of the topics tackled by different artists at 60th International Art Exhibition in Venice (until 24th November), characterized by the theme "Stranieri Ovunque - Foreigners Everywhere".
Different artists, as it is only natural, interpreted the theme employing a wide range of materials and inspirations. For example, upon seeing Teresa Margolles' "Tela Venezuelana" on display in the Central Pavilion at the Giardini, some visitors' minds may conjure up visions of the Holy Shroud. The latter is a linen cloth that, bearing the image of the front and back of a man, is venerated as the burial shroud used to wrap the body of Jesus.
On Margolles' Tela you can see the imprint of a human body, and at first you try and guess how the artist created that ghostly and unsettling image of a human being on the canvas. Soon, though, you realize that you're not staring at a painting made with acrylic colors, but at death, and you feel as if an invisible force had delivered a sudden blow to the stomach, as you understand that this is not the recreation of the imprint of a human image, but the real thing.
"Tela Venezuelana" is indeed part of a research project by Margolles on labor and migration at the border between Venezuela and Colombia and the silhouette of the human form was derived from the blood of a young Venezuelan man killed at the Táchira River in Cúcuta, on the Colombian side of the border.
Margolles placed the cloth over his body during the autopsy and let the dried blood from the man's face, arms, torso and legs to leave a mark, The grueling linen becomes an anonymous portrait of another victim of forced migration, the physical representation of a tragedy that repeats itself in different parts of the world.
Elsewhere in the Biennale different vision and interpretation of refugees emerge: Yinka Shonibare's "Refugee Astronaut VIII" (2024) is part of a series introducing life-sized nomadic astronauts clad in Dutch wax fabric suits.
Positioned at the Arsenale entrance, this Refugee Astronaut assumes a dynamic stance, yet appears burdened by the weight of its possessions - a poignant symbol of displacement and the challenges it entails. Shonibare draws inspiration from the concept of space as a potential refuge, highlighting the complexities of seeking sanctuary.
Beyond its thematic exploration of displacement, the artwork serves as a cautionary narrative on environmental degradation and capitalist exploitation, while also moving a critique to colonial ambitions. Here, the nomadic astronaut embodies indeed the quest for habitable spaces amid a world marked by ecological peril and social upheaval. Shonibare prompts viewers to reflect on the repercussions of apathy towards issues such as the rising sea levels (a relevant topic in a city like Venice) and the displacement of communities.
Within the Arsenale, Shonibare’s astronaut appears to have landed near the overhead structure crafted by the Mataaho Collective, (recipients of a Silver Lion). This juxtaposition underscores the interconnectedness of themes within the Biennale; "Refugee Astronaut" thus stands as an invitation to contemplate the consequences of indifference and the imperative of collective action in safeguarding our shared future.
Somehow you would hope that also politicians would see these works by Margolles and Shonibare as they may help them pondering more on the themes of migrants and refugees and come up with more human solutions to this issue.
EU interior ministers gathered in Ghent yesterday and today for a two-day conference on the European pact on migration and asylum. However, the pact has faced significant criticism from over 160 human rights organizations, including Amnesty International and Human Rights Watch. These groups argue that the pact will exacerbate suffering, reduce protection, and lead to more rights violations.
Art may not provide us with the ultimate solution to dealing with the migration crisis, but it can shake us out of our indifference. For example, both Margolles and Shonibare prompt viewers to confront the tragedy of forced migration, the human cost of indifference and the imperative of collective action in addressing global issues, inviting reflection on environmental and social challenges and on the quest for a safe refuge in an increasingly precarious world.
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