Oproep 3: Digitaal werken in de kunsten
This project lays at the intersection of resistance, colonialism, maps, and GIS. In my project MapBH, I tackled the digitisation, translation, and transformation of old colonial maps across the 19th and 20th centuries into a simple modern projection that's easy to explore and outline the stories of neoliberal destruction. In The Reclamation Project, we plan to tell those stories.
Less than 5% of Bahrain’s coastline is accessible to the public and 90% of its coral reefs are bleached. We're going to fight back. This is the impact of a neoliberal regime that dictates a singular vision. There can only be one path forward into the future, over the bodies and economic displacement of marginalised indigenous communities, immense natural destruction, and enrichment of the few. It violently erases the possibility to imagine a different world. In Bahrain, land reclamation is synonymous with growth. It is heralded as the only possible path for a country to grow, and bans its people from dreaming of it intact. In its shadow lies a million tear gas canisters and rubber bullets deployed against fishermen clinging to their livelihood and an entire island physically alienated from its shoreline. To challenge this narrative, we imagine a sustainable modern Bahrain entirely bound by its original coastline which we bring to life with data visualisations, virtual reality, architecture, photography, poetry, and paint.
Bahrain is ground zero of the climate catastrophe, water scarcity, and first-in-line to disappear with rising sea levels. Whatever becomes of it will be a cautionary tale to coastal cities across the world. It'll be a powerful rebuke of architecture firms in Brussels and Flanders that capitalise on these land reclamation land grabs in Bahrain. It addresses what it means to live within our bounds and respect our habitat rather than bending everything in service of the pursuit of profit.
Ahmed Almutawa - firstname.lastname@example.org
Het KMSKA heeft een rijke collectie, ondergebracht in een gerenoveerd gebouw dat opnieuw opent in 2022. De collectie bevat hoofdzakelijk Vlaamse kunst, maar deze werken bevatten vele sporen van contact met de wijde wereld. Steun van AFNI zou ons in staat stellen om in samenwerking met externen deze sporen van culturele diversiteit in de verf zetten.