Saša Rajšić, Art Installation Technician | April 5, 2017
Millions of refugees are currently in exile. Millions of refugees are coming to terms with their new lives in their adoptive countries.
Irish artist Richard Mosse’s recent exhibition showcases a multi-channel film installation depicting migrations of war refugees across the Middle East, North Africa, and Europe. Mosse used new military-grade surveillance technology that is capable of detecting the human body from 30.3 km. The camera captures the outlines of different heat sources in a given space. The images it produces are simplified representations of the human body without skin color, or specific facial features.
Mosse notes that ‘the camera carries a certain aesthetic violence, dehumanizing the subject, portraying people in zombie form as monstrous, stripping the individual from the body and portraying a human as mere biological trace’.
I did not have a chance to see the exhibition in person, but they were well covered by the press. The images and the videos available online made me think of Guernica, perhaps Picasso’s most famous painting. Both Guernica and Incoming, share a similar monochromatic aesthetic, featuring abstracted human forms in suffering. From a historical distance of less than fifty years, the two art works remind us of human cruelty that is part of both our collective past and present. More importantly, these works of art ask us how we relate to the depicted images and whether or not we can afford to be passive observers.
15 February 2017 - 23 April 2017
Silk Street London