Response to Jewell, Evan. (Re)moving the Masses: Colonisation as Domestic Displacement in the Roman Republic. Humanities 2019, 8, 66
Abstract
:Nevertheless, the aesthetic quality of the installation is what sticks in the mind. The other figures are not referred to by name. Nor do we learn of Kader’s subsequent fate.The Raft of Lampedusa carries 13 refugees towards an unknown future. It draws its inspiration from Théodore Géricault’s Raft of the Medusa which represents the vain hope of shipwrecked sailors. Despite being able to see the rescue vessel on the horizon, they are abandoned to their fate—much as refugees are today. Even as raft after raft of refugees is lost beneath the waves of the Mediterranean, as the bodies of children wash up on European shores, Fortress Europe has withdrawn rescue operations, built barriers, turned away. Taylor cast refugee Abdel Kader as the figurehead of The Raft of Lampedusa. Kader comes from Laayoune, the largest city in Western Sahara, and made his own perilous journey by boat to Lanzarote 16 years ago when he was only 13 years old. The Rubicon features 35 people walking towards an underwater wall, unaware that they are heading to a point of no return. They look down or look at their phones, in an almost dreamlike state. This is a recurrent theme in Taylor’s work—that we are sleepwalking towards catastrophe, unable to take stock of our own impact on the natural world and therefore our own survival.
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1 | According to his website, ‘The works create a strong visual dialogue between art and nature. They question the commodification and delineation of the world’s natural resources and raise the alarm of the current threats facing the world’s oceans. The installations highlight the social and political divisions within today’s society.’ https://www.underwatersculpture.com/?doing_wp_cron=1569435902.8521459102630615234375). |
2 | https://www.independent.co.uk/news/uk/politics/tory-mp-describes-syrian-refugees-as-a-tsunami-that-could-swamp-europe-10503565.html. Inexcusably, and at exactly the same time, Amin Awad, Director of the Middle East and North Africa Bureau of the Office of the UN High Commissioner for Refugees, used the terms ‘avalanche’ and ‘tsunami’ to dramatise the ‘crisis’. https://news.un.org/en/story/2015/09/509742-syria-un-cites-utter-desperation-behind-tsunami-refugees-europe. |
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Gatrell, P. Response to Jewell, Evan. (Re)moving the Masses: Colonisation as Domestic Displacement in the Roman Republic. Humanities 2019, 8, 66. Humanities 2019, 8, 171. https://doi.org/10.3390/h8040171
Gatrell P. Response to Jewell, Evan. (Re)moving the Masses: Colonisation as Domestic Displacement in the Roman Republic. Humanities 2019, 8, 66. Humanities. 2019; 8(4):171. https://doi.org/10.3390/h8040171
Chicago/Turabian StyleGatrell, Peter. 2019. "Response to Jewell, Evan. (Re)moving the Masses: Colonisation as Domestic Displacement in the Roman Republic. Humanities 2019, 8, 66" Humanities 8, no. 4: 171. https://doi.org/10.3390/h8040171
APA StyleGatrell, P. (2019). Response to Jewell, Evan. (Re)moving the Masses: Colonisation as Domestic Displacement in the Roman Republic. Humanities 2019, 8, 66. Humanities, 8(4), 171. https://doi.org/10.3390/h8040171