Differential Treatment: Migration in the Work of Yto Barrada and Bouchra Khalili
Differential Treatment: Migration in the Work of Yto Barrada and Bouchra Khalili
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差别待遇：Yto Barrada 和 Bouchra Khalili 作品中的移民
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发表时间：
2015
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通讯作者：
Emma Chubb
中科院分区：
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作者：
Emma Chubb
就像他们的文学同行一样，地中海和阿拉伯语世界的当代艺术家近年来将注意力转向了移民。这种移民的转向促使许多艺术家、艺术史学家、评论家和策展人将移民作为普遍性或人类的新形象来庆祝，而忽略了一种特定形式的移民，即从“全球南方”秘密进入西欧的移民。在这样做的过程中，这些对移民的庆祝证明了我所说的“移民东方主义”，我将其定义为当代艺术中表现和分析移民的主导框架。迁移东方主义的理论指出，在当代艺术及其话语中，移民的表现方式经常依赖于种族，语言和地理差异的可见标记，这些方式让人想起早期东方主义和殖民主义对“他者”的表现。为了分析迁移的东方主义如何体现在艺术品的概念和它的接受，本文比较了最近的摄影和视频作品的马达加斯加-法国艺术家伊托巴拉达（B。1971）和Bouchra Khalili（B. 1975年）。我认为，而不是采取类似的方法来移民，批评家经常建议，这些艺术家的证据反对的方式代表移民。哈利利的视频系列，地图之旅项目（2008-2011），专门关注移民的旅程，将非洲或中东移民描绘成匿名的，非历史的，总是欧洲的。相比之下，Yto Barrada的系列摄影作品《充满漏洞的生活：海峡项目》（1999-2006）将移民作为一个起点，更广泛地考虑移民的多个目的地及其社会、经济和政治基础。
Much like their literary peers, contemporary artists across the Mediterranean and Arabic-speaking world have turned their attention to migration in recent years. This migratory turn has prompted many artists, art historians, critics, and curators to celebrate the migrant as a new figure for universality or the human while eliding migration writ large with a specific form of migration, that of clandestine movement from the “global South” into Western Europe. In so doing, these celebrations of the migrant evidence what I call “migratory orientalism,” which I define as the dominant frame for representing and analyzing migration in contemporary art today. A theory of migratory orientalism points to the ways in which representations of migrants in contemporary art and its discourse frequently rely on visible markers of racial, linguistic, and geographic difference in ways that recall earlier Orientalist and colonialist representations of the “Other.” To analyze how migratory orientalism manifests both in an artwork’s conception and its reception, the article compares recent photographic and video works by Moroccan-French artists Yto Barrada (b. 1971) and Bouchra Khalili (b. 1975). I argue that rather than taking a similar approach to migration, as critics often suggest, these artists evidence opposed ways of representing migration. Khalili’s video series, The Mapping Journey Project (2008-2011), which focuses exclusively on the migrant’s journey, depicts the African or Middle Eastern migrant as anonymous, ahistorical, and always Europe-bound. In contrast, Yto Barrada’s series of photographs, A Life Full of Holes: The Strait Project (1999-2006), takes migration as a starting point for a broader consideration of migrants’ multiple destinations and its social, economic, and political underpinnings.