Veranstaltungen Lichtenberg Studios Oktober 2015
Donnerstag, 22. Oktober um 19 Uhr
India Roper-Evans / Samuel Brzeski
Vortrag und Diskussion zu Ihren Arbeiten.
India Roper-Evans / Samuel Brzeski wohnen im Oktober in den Lichtenberg Studios und erkunden den Bezirk.
India Roper-Evans is a Hungarian/British photographer and a curator living and working in London. She has had several large-scale commissions across her eight year career as a photographer and also co-founded Art Crunch, a platform to support emerging young artists through the credit crunch. Her commercial work helps her fund her personal projects, which, appropriately to her Hungarian roots come together through storytelling:
‘Professional Roma Women’ Project: (see first image: Daroczi Agnes)
Roma in Europe
The Roma left Rajasthan in Northern India approximately a millennium ago. No one knows why they started their mammoth journey across Persia, through Arabia, into Egypt and present day Turkey, and then to Europe, where they worked as musicians, itinerant journeymen and harvesters. Since that time, their history is one of banishment, forced assimilation, persecution, deportation, slavery, and attempted extermination. In the ‘Parrajimos’ or Roma Holocaust between 1,000,000 and 1,500,000 Roma were murdered. The figures are so inexact because nobody bothered to record the ‘Gypsies’. They continue to be victims of persecution, especially in the Eastern European countries of the former “Soviet block”. Today there are about 8,500,000 Roma living in Europe, the biggest ethnic minority on the continent. In Hungary they number about 500,000 out of a total population of 10,000,000, and so constitute a sizeable minority. Within the Roma community gender roles are very divided, Roma women in Eastern Europe suffer the double prejudice of Roma sexism and Gadjo [white majority] exploitation. The women portrayed here are all high-ranking professionals in Budapest, Hungary.
Samuel Brzeskis work is concerned with the relationship between the factual, rational, and scientific and the fictional, uncertain, and obscure. Questions of how we interpret objects, and the form or mode of presenting ‘evidence’ of events, people, or activities lies at the heart of his practice. Attentive to materiality, his work lies in the juxtaposition of objects and forms, and the estrangement of things – fictions that have the appearance of facts, formerly tangible images made ghostly or obscure, objects that have lost their function, or tools that we’ve forgotten how to use.