Guerilla-guy (Miguel, 2005)

In particular, I choose to highlight those individuals who would ordinarily be marginalized, made invisible or forced into self-ghettoization from the urban domain such as migrant communities and their culture, particularly the communities from the Middle East and their diaspora. The question of visibility and invisibility, therefore, has been a situation that I actively explore within my practice. With reference to my earlier video work I create different scenarios of an unknown migrant figure known as ?M? who is presented in various public scenarios (?i?? 2004, Rockerfeller Boulevard, 2004, Alcazar, 2004). Sometimes ?M? is walking, running or busy creating informal structures using caution tape to raise claim for his own territory. ?M? is forever on the move, mostly with his belongings in his suitcases in tow, always already aware of the fact that as a guest he may be asked to leave at any given moment.
? M? series has led me to explore further migrant prototypes such as: the Islamic fundamentalist (Islamic Star, 2005), Kurdish activist (Mehmet, 2005) Guerilla-guy (Miguel, 2005) an unknown criminal from the Balkans (Mladen, 2005). Some of these figures are having an enormous auto-aggression, burning themselves, firing a hand grenade etc. In many ways they defy the image of ?M? as this coy, polite, guest-worker contributing to German reconstruction. Furthermore, I also transfer these ideas about confrontation within my sculptures and para-architectural installations (Caution, 2001-06). These sculptures/ informal architectures are always constructed in public-spaces and always made from caution tapes suggesting ideas about safety zones and no go areas and importantly who is permitted and not within the public space. These works deal with the dual concept of performance and public space and time.
Shahram Entekhabi 2006.




Miguel

Artist: Shahram Entekhabi
Production year: 2005
Duration: 00:01:15
Catalogued as: EXPERIMENTAL, SOCIAL/POLITICAL, CULTURE/IDENTITY, GENDER/SEXUALITY

Galleries:
Anita Beckers

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