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Art and the refugee ‘crisis’: Mediterranean blues

Artists are mapping new itineraries of the Mediterranean, throwing into relief an incurable colonial wound that continues to bleed into the present.

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 Mali to Italy.
Mali to Italy. "I came to Europe because of the war. I went to Algeria and from there I took a boat without knowing

Saidou: Mali to Italy. "I came to Europe because of the war. I went to Algeria and from there I took a boat without knowing where I was going. It happened this way, that’s destiny." Photo ©Kate Stanworth.The so-called contemporary migrant ‘emergency’ in the Mediterranean is the deliberate political and juridical construction of Europe. Refusing Article 13 of the Universal Declaration of Human Rights (1948), all European states have decided that not everyone has the right to move and migrate. This violent exercise of European and First World power reopens a profound colonial wound. Migrants rendered objects of our legislation and laws signal once again the asymmetrical relations of power that produced the colonial world and its ongoing fashioning of the present. 

Today, the evocation of  ‘emergency’ and ‘crisis’ in the Mediterranean, signalled in the brutal necropolitics of leaving some to drown, others to be turned back, and all to be forced to suffer horrendous journeys over desert, sea and increasingly fortified barriers, clearly draws on altogether deeper geographies of regulation and possession.

European colonial power was established, affirmed and secured by control of the seas. Just as in 1800, when Napoleon and Nelson were fighting for global hegemony around its shores and on its waters, the Mediterranean remains an exclusively European matter (with Israel and Turkey as subcontractors). It is part and parcel of the geometry of the colonial present, where our security invariably secures someone’s else’s death. There is a beautiful short film by the Ethiopian activist and film make Dagmawi Yimer (Asmat/Names) that seeks to rescue from the anonymity of the depths those who have drowned by restoring their names to memory, transforming the sea into a vital archive for us condemned ‘to listen to these screams’. Yimer was himself an ‘illegal’ migrant who made it across the sea.