Art Nouveau Vinca Masini by Lara-Vinca Masini

By Lara-Vinca Masini

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The frozen shirts, the pinholes of the lake and the daily diary formed a further, more philosophical, grouping. At Impressions Gallery they shared one of the upstairs galleries, creating an intensity of reference to sky and snow in what the Programme Manager nicknamed the ‘ice’ room. In summary, we can conceptualize curatorial voice and strategy in terms of a number of inter-related levels of evocation. Artists ‘speak’, more or less assertively, through their work. To some extent, work is appropriated to the interests and vision of the curator, although, in my experience work refuses subjugation.

The film suggests that identity, be it gendered, national or religious is finally always sited on the body and its contingent sexualities and desires. The Albanian immigrant, (despite being male) is raped for violating the power structures of patriarchal Greek society; that is, he had sex with the wife of a customs officer. Through the act of sodomy, the Greek men reclaim their cultural authority. The film’s outcome suggests that while on the one hand the Albanian young man is unable to articulate this unspeakable act, instead ‘acting out’ its consequences by taking the bus hostage, the Albanian authorities, on the other, silence him altogether rather than acknowledge the ideological implications of male rape and more significantly the metaphorical ‘rape’ of Albania by the West.

As I have indicated, gallery space influences ways of working. For instance, the more narrative series about work and transport links, Eskildson’s grandmother, Klingberg’s foreign workers and Webb’s new roadways were grouped together. The frozen shirts, the pinholes of the lake and the daily diary formed a further, more philosophical, grouping. At Impressions Gallery they shared one of the upstairs galleries, creating an intensity of reference to sky and snow in what the Programme Manager nicknamed the ‘ice’ room.

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