Khadija von Zinnenburg Carroll: New Work
&
Katarzyna Perlak: Vulnerable

May Digbeth First Friday
4 May 2018, 6-9pm, 
Stryx

Khadija von Zinnenburg Carroll, New Work, installation view, Stryx, 4 May 2018, photo Ilona Zielinska
​​
For May Digbeth First Friday  Stryx  presents two exhibitions on the subject of the migrant condition by Katarzyna Perlak and Khadija von Zinnenburg Carroll. Perlak exhibits a sound installation entitled Vulnerable (2017), while Carroll shows for the first time the culmination of a three-year project, made in collaboration with Christoph Balzar, Mary Bosworth, Ludovica Fales, Emma Humphris, Jessyca Hutchins and 300 anonymous artists.

Katarzyna Perlak (b. 1979, Poland) is a multi-media artist based in London, whose work incorporates photography, collage and predominantly looks into matters surrounding personal and collective memories, identity politics, migration and feminism. Vulnerable is a sound installation comprising of 142 exchanges with participants who demonstrate how to pronounce ‘vulnerable’.  The work reflects upon the relationship between language, power structures, social mobility and vulnerability. It’s a reflection on how accent affects our social and economic mobility, and how it can make us vulnerable. Accents are associated with social groups: national, regional or social. All accents have different connotations which we can’t escape, especially as migrants whose accents are always being different from the dominating group. Vulnerable was previously presented as a durational performance at the closing week of 57th Venice Biennale (2017), in the Diaspora Pavilion.
   



















Katarzyna Perlak, Vulnerable, 2017
Sound installation


   
Khadija von Zinnenburg Carroll (b. 1980, Australia) is an artist based in Birmingham and Professor of Global Art at the University of Birmingham. Her art practice involves a complex montage of words and images in films and installations with which she voices and embodies invisible or haunted presences by telling alternate histories. Carroll's rituals of repair experiment with interventions in institutions where dislocation and conflict lay bare historical relationships. Her installations and texts have been exhibited at the 52nd Venice Biennale, Manifesta 12, ICA London, Pesta Boneka Festival Indonesia, and the 4th Marrakech Biennale. In New Work she presents a two-channel video installation that delves into the rituals of mourning and fertility, made with Ludovica Fales and Emma Humphries, edited by Jane Hodge. Through the words of artist and poet Mirella Bentivoglio, grandmother of one of the artists, the piece explores the brutal violation of the earth and memory, and at the alchemic transformation of this death into new life. 

In the performance Men in Waiting: Immigrate into your Shadows (2018), Carroll presents her work inside British immigration detention centers together with drawings made by detainees awaiting deportation from the UK. Around 3500 people are held each day in one of nine ‘Immigration Removal Centres’, mainly run by private security contractors, spread across the UK. Foreign citizens may be detained for a variety of reasons including a prison sentence, overstaying their visa or entering the country without papers. People (the population is around 90% male) can spend several years in detention, as there is no time limit, which is a defining characteristic of the British detention system. Carroll was in a residency with special access to the immigration detention centres where she worked with detainees, took documentary photographs, video and sound. Centres are normally very difficult to access, so the exhibited works give a unique insight into the hidden sites of British border control.

The performance that will be presented at Stryx mixes shadow puppetry, photographic slides, video, architectural models and spoken word with live English folk music by Jessyca Hutchins, and an electronic voice by Christopher Haworth. The story of the performance is set in a deportation centre run by the fictional Bordr Management company, where the building sees everything that happens within. We move through its many waiting rooms, narrated through drawings, testimonies, documentary photography, video, and interviews from the digitized archive of original artworks made by detainees. This archive is a study, made with criminologist Mary Bosworth, of the effects of indeterminate detention on the subjectivity of the incarcerated. Its imagery provided forensic evidence for criminologists of human suffering as well as responding to aesthetic demands and legal limitations. For Bordered Lives, Carroll cooperated closely with Berlin based artist and curator Christoph Balzar who focused on the marketing of transnational immigration removal corporations. For the installation From an Ethnography of Art Rooms in Detention Centres, they recreated a dense space made up of artworks produced by detainees who are legally stripped of their authorship and personhood. This workshop situation not only opens the archive to the public, it also reflects upon the conditions under which art is supposed to be produced (and is undermined) in institutional spaces. Balzar also studied the institutions’ therapy methods and in Alternative Healing he presents a full scale but incomplete recreation of a notice board depicting questionable mental health instructions for detainees who are supposed to heal themselves rather than receiving help. Reflecting upon bureaucratic indifference and banality, Balzar in collaboration with Carroll and the anonymous detainees, produced various digital collages with material from the Immigration Detention Archive in the form of photographic prints and light boxes. 

Curated by Roma Piotrowska

Stryx, Unit 13, Minerva Works, Fazeley Street, Digbeth, Birmingham, B5 5RS






























   
  1. Managing Director
  2. Managing Director
  3. Managing Director
  1. Managing Director
  2. Managing Director
  3. Managing Director
  1. Managing Director
  2. Managing Director
  3. Managing Director