‘Hinterland’ installation in Post-Peace exhibition at Wuttembergischen Kunstverein Stuttgart
‘Hinterland’ after ‘Stage for Tragedy’ installation sketch
Alexandra Exter Stage for Tragedy drawing 1924
‘Hinterland’* after ‘Stage for Tragedy’ (interpretation of Alexandra Exter’s drawing for a stage setting for a tragedy in 1924) at Post-Peace** exhibition at Wuttembergischen-Kunstvereins from 24th Feb. (opening) to 7th May 2017.
24th February: Ongoing performance ‘I Must Seek Refuge Again‘
26th February: Ammunition boxing*** Performative talk (Schlossplaz and Stuttgart Central Station) starts at Schlossplaz with quatrains by 11th century Persian poet Baba Tahir and reading of The Schuman Declaration (from 9 May, 1950), Ammunition boxing will round up with The Laments of the Anonymous Stateless Immigrants — the story of ‘Consumer’s Control’, a post-artistic anti-fascist performance by Ehsan Fardjadniya at Stuttgart train station.
*Hinterland is a place between two lands
it isn’t the mainland, it isn’t my motherland
They say it is a port of fabrication, with no shine in its sand
you should leave from it, as far as you can
Thanks to Vanessa Gravenor‘s article in THE SEEN, Chicago’s International online journal of contemporary and modern art, on our collective (Anonymous Stateless Immigrants Collective) and performance/intervention in Museum of Warsaw Uprising and Frontex: ‘It’s about a society in free fall… Frontex acts as a type of Donald Trump border policing, but in liquid form. Further interventions of ASI Collective included carrying a casket outside of Frontex’s headquarters in Warsaw, and singing a Jewish mourning song. Frontex’s is the EU’s border control that goes as far as “rescuing” refugees crossing the sea, but then always taking the refugees back to their war torn countries.’
The PDF below is a factural Report of Our Performance and Intervention at Warsaw Uprising Musuem and Frontex Office.
On August 3rd, 2016 our performance took place at around 14:00 hours in the Warsaw Uprising Museum, Grzybowska 79, Wola district, Warsaw, Poland and moved to Frontex headquarters.
This document is written by Ehsan Fardjadniya, a member of performance group who was atained at frontex office behind close door by security guards.