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Servicing the Story First: the Aesthetics and Politics of the Representation of Refugees

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Servicing the Story First: the Aesthetics and Politics of the Representation of Refugees Servicing the Story First: The Aesthetics and Politics of the Representation of Refugees Alison Ranniger | Student Number 1943391 Master of Arts and Culture / Servicing the Story First: The Aesthetics and Politics of the Representation of Refugees Alison Ranniger MA Arts and Culture Specialization: Contemporary Art in a Global Perspective Leiden University Supervisor: Prof.dr. Kitty Zijlmans Leiden, The Netherlands January 2020 1 / Abstract: This thesis reflects on historical and contemporary issues around representational practices and visual politics of creating and displaying refugee subject matter in art. This paper aims to open up broader discussions about cultural institutions and artists’ responsibilities in producing counter-narratives that service refugees’ perspectives and voices. By doing so, museums and relevant artists can avoid perpetuating existing tropes and ensure that their own agendas are secondary to what the subject of their work (in this case, refugee and asylum seekers) wishes to convey. By means of concrete examples of artists and artwork, the author attempts to bring forth a discussion on the ethical considerations for artists involved in collaborative projects with refugees and asylum seekers by questioning and challenging various frameworks and existing modes of representation within contemporary art discourse. The author proposes different modes of representation that service the ‘protagonist’s’ story first, referring to concepts and practices through which to understand the construction of visual narratives surrounding refugees; thus establishing how these practices can be effective beyond simply making things visible. Keywords: artists, refugees, asylum seekers, ethics of representation, rehumanization, We Are Here/ Wij Zijn Hier 2 / Table of Contents Introduction 4 Chapter 1: Literature Review 9 1.1 Narrative framing of refugees as the ‘Other’ 9 1.2 Deconstructing representations through counter-narratives 10 Chapter 2: Methodology 13 Chapter 3: Ethics of Representation 17 3.1 Power Dynamics: the relationship between the artist and subject 17 3.2 Rehumanization 18 3.3 Problematizing responsibility in the space of appearance 19 Chapter 4: Visual Media Representation of Refugees 22 4.1 Representational practices and visual politics 22 4.2 Historical and political context of the refugee in media 23 4.3 Problematizing the systems of refugee visibility 31 Chapter 5: Artistic Collaborations and Political Participation 36 5.1 Aesthetic Interventions 36 5.2 Case Studies 37 5.3 Problematizing frameworks and modes of representation 41 Conclusion Servicing the Story First 46 Figures 52 Bibliography 59 3 / Introduction Despite the growing acknowledgment that visual representations more broadly influence the general public's perceptions of refugees and asylum seekers, the process and framework through which artists and the media represent refugees has not been problematized or critiqued in depth. Addressing this gap has become all the more relevant due to the radical expansion of new technologies that allow for the easy and expeditious distribution of images across national boundaries, thus posing fundamentally new political and ethical challenges in our increasingly globalized world. In this era of radically new image consciousness, artists and visual media producers have yet to fully understand how this influences political and artistic thought and action. This thesis reflects on the historical and contemporary issues around representational practices and visual politics of creating and displaying refugee subject matter in art and media. The term ‘refugee’ is used broadly throughout this thesis to include refugees whose status has been approved, as well as asylum seekers who are in limbo or in detention, whose claims for status have yet to be determined. 1 The title of this thesis was inspired by refugee artist Omar Imam in the critical debate entitled “Can photography change the image on refugees?” 2 Using his own work 3 as a basis in this debate, Imam argued that he uses his images to break narratives of the visual rhetoric of refugees and asylum seekers, by making the image accessible to his subject and by servicing their story first. By the means of concrete examples of artists and artwork, I attempt to bring forth a discussion on the ethical considerations for artists involved in collaborative projects with refugees and asylum seekers by questioning and challenging various frameworks and existing modes of representation within contemporary art discourse. I also propose different modes of representation that service the protagonists’ story first, referring to concepts and practices through which to understand the construction of visual narratives surrounding refugees; thus 1 Throughout this text I will use this term only in order to denote the political status of the group of people to whom I am referring, as their status plays an important role in the research compiled here. Yet, so as not to rob these people of their individuality and inherent complexities, I will aim to provide a sense of the people behind the word “refugee” through their stories and their contributions. 2 Imam, Omar, et al., “Can Photography Change the Image on Refugees?” Humanity House: In the Picture. Studio Aleppo debate: Can photography change the image on refugees?, 22 Sept. 2017, The Hague, Netherlands. 3 Imam, Omar. “Live, Love, Refugee.” (2015) O mar Imam, Accessed at www.omarimam.com/live-love-refugee 4 / establishing how these practices can be effective beyond simply making things visible. By examining how the activities of refugee collectives and artist-refugee collaborations overcome dominant visual narratives and nationally constructed identities by means of self-presentation of refugees, this paper aims to open up broader discussions about cultural institutions and artists’ responsibilities in producing counter-narratives that service refugees’ perspectives and voices. Through this, museums and relevant artists can avoid perpetuating existing tropes and helps ensure that their own agendas are secondary to what the subject of their work wishes to convey. In 2012, the refugee collective based in Amsterdam known as Wij Zijn Hier (ENG: We Are Here) was organized to make visible the inhumane situation in which they live and to advocate for the human rights of refugees in limbo in the Netherlands. The name of the group, We Are Here, was introduced in 2006 by Papa Sakho who stated, “We are here, to make a life again, together as one. Today we can say we are here to make a normal life, all together.” 4 This protest initiative is designed to draw attention to the shortcomings of the current system, advocating to for the government to expand asylum to provide further shelter, implement opportunities for jobs and education, while at the same time facilitating their own opportunities for refugees in limbo to emancipate. In order to share their own stories and effectively spread their call for recognition and human rights, We Are Here has set up an independent media platform to facilitate their protest. This media platform, known as the We Are Here Media Team, creates a space for self-representation through independent videos, photography, and journalism. Harnessing this independent media has given them a voice in the public discourse about the refugee and migrant crisis, providing a new vocabulary that counters the imagery of refugees spread through mass media. This self-organization of refugees has produced a social movement that has strengthened awareness of their situation and increased diplomatic pressure on the Dutch government . By challenging this systemic and narrative framework, “the group insists that their presence has to be dealt with publicly and openly, choosing the strategy of creating visibility of a problem that society otherwise prefers to ignore.”5 Furthermore, it establishes how these practices can be effective beyond 4 Sakho, Papa. “Commemoration of the Schiphol Fire.” 2006. Web. <http://wijzijnhier.org/tijdslijn/we-are-here-is-four-september-4th-2016/>. 5 Hlavajova, Maria. “Foreword.” in Collective Struggles of Refugees, p 9, Utrecht: BAK, basis voor actuele kunst, 2013. 5 / simply promoting visibility and supporting the claim that the performance of freedom of expression and expressions of human beingness becomes a claim to human rights. Throughout this thesis, I will be discussing visual art works and media that engage with the refugee issue to gain insight into the visual politics and current frameworks used in representation. Visual politics can be defined, in this case, as the notion of how “television, film, photographs, new media sources and artworks decisively influence how we perceive and deal with political phenomena as diverse as war, terrorism, refugees and financial crises.” 6 With that said, this thesis will not be an analysis on the effectiveness of these images in raising awareness of the humanitarian crises, but instead will focus on the production and ethical responsibility of artists and visual media producers in contributing to the visual narratives of refugees and asylum seekers. Using the concept of visual politics, I will aim to address the exact nature, framework, and impact of visual power in order to explore the various ways and avenues of how images increasingly mediate people’s engagement with the material, social, and political world. Concurrently, several contemporary artist’s works address the paradoxical and poignant position of refugees in limbo, located within the interstices
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