VENICE — The 59th Venice Biennale is one presenting many firsts: the primary Black American girl to symbolize america (Simone Leigh), the primary Black girl to symbolize Britain (Sonia Boyce), the primary Franco-Algerian girl to symbolize France (Zineb Sedira), the primary time Scandinavia’s indigenous individuals, the Samí, have represented the Nordic pavilion.
The Polish pavilion is not any exception. For the primary time in its historical past, a Roma girl, Małgorzata Mirga-Tas, has been chosen to exhibit in a nationwide pavilion. As a Pole, I can not overstate the importance of Mirga-Tas representing the nation that Roma have known as their residence for almost 600 years. The historical past of the Roma and Sinti in Poland and Europe is that of marginalization, exclusion, misrepresentation, and persecution, which culminated within the systematic mass homicide of Roma and Sinti throughout the Holocaust. In view of this historical past, Mirga-Tas’s work contained in the Polish pavilion enters uncharted territory. Her textile set up, Re-Enchanting the World, repositions Romani tradition inside the Western European canon by means of a story that begins within the seventeenth century and ends with depictions of Mirga-Tas’s Roma group in southeastern Poland.
Mirga-Tas’s work consists of 12 panels, every divided into three horizontal bands. The highest band of every panel attracts on a collection of etchings created between 1621 and 1631, entitled The Gypsies (Les Bohémiens), by French artist Jacques Callot. Callot’s Les Bohémiens affords a visible guidelines of stereotypes generally related to Roma (portraying them, for instance, as fortune tellers partially clothed in rags, partaking in “indecent” habits, or stealing livestock; or as “foreigners” to be distrusted). In line with Mirga-Tas and the pavilion’s curators, Wojciech Szymański and Joanna Warsza, Callot’s prints are a way to reclaim the narrative and visible misrepresentations of Roma life and identification.
To solidify the artist’s repositioning of Roma visible tradition, Mirga-Tas’s panels mimic the compositional construction of the Corridor of the Months frescos from the Palazzo Schifanoia in Ferrara, Italy: three horizontal bands organized vertically to kind one panel, every containing a definite narrative. Twelve zodiac indicators from the Corridor of the Months frescos seem within the center part of Mirga-Tas’s panels to emphasise the cyclical nature of time and the odyssey of the Roma. Every zodiac signal is accompanied by putting portraits of principally Roma girls. Throughout an artist speak on June 4 at Zachęta Nationwide Gallery of Artwork in Warsaw, the artist recognized a few of these girls: the primary Roma tram conductor in Poland, a Roma Holocaust survivor, Roma artists and group activists, and her personal sister. As obligatory and overdue because the artwork historic framing is, Mirga-Tas’s work shines strongest when her people are recognizable as particular individuals, prepared to fulfill our gaze, filling every panel with their presence whereas confronting centuries-long prejudices and misrepresentations.
The set up’s backside band takes viewers to the artist’s hometown of Czarna Góra, within the Tatra mountains of southeastern Poland. Leaving the allegorical realm of the higher bands, she presents an intimate look into her group. We witness social gatherings corresponding to a funeral procession, a recreation of playing cards, enjoying youngsters, girls conversing inside a house, individuals of various generations harvesting potatoes in a subject. Examples of home labor historically affiliated with girls’s work, like doing laundry, plucking chickens, or stitching, level to a difficulty Mirga-Tas addressed in her Zachęta speak. She referred to herself as a “feminist of a minority” and said that being an artist as a Roma girl shouldn’t be but a given.
Via a mixture of embroidery and stitching, she imbues home crafts with a combination of artwork and Roma historical past, private expertise, and epic storytelling, with a nod to the “excessive artwork” of tapestry. Her alternative of fabric for this set up displays her dedication to her group and the significance of sustainability within the face of quick style. Most of her cloth is from second-hand clothes that has been sourced from her mates, neighbors, relations, and native thrift shops. In some cases, people depicted in her panels are composed from their very own clothes. And he or she ceaselessly names her collaborators: her aunt, Stanisława Mirga; her buddy, seamstress and fellow activist Halina Bednarz; educator Małgorzata Brońska; and others. The mixing of life and artwork has hardly ever been this poetic, this intertwined, and this inseparable from the artist and her group.
Mirga-Tas’s method to creating work that dignifies her group stands in stark distinction to a different of this 12 months’s nationwide pavilions on the biennale, Francis Alÿs’s The Nature of the Recreation on the Belgian Pavilion. Alÿs’s assortment of quick movies, which doc youngsters at play in numerous international locations throughout the globe, typically in battle zones, affords an instance of the lengthy and tough street forward in de-colonizing components of the established artwork world. The universalizing message is, regardless of the circumstances, youngsters will all the time be united in play. This work has been overwhelmingly praised by the worldwide artwork press with out ever elevating the query in regards to the energy dynamic between the artist, his digicam, and his topics.
Re-Enchanting the World, alternatively, offers profound which means to the idea of community-based work. But the progressive spirit that has enabled Mirga-Tas’s achievement on the biennale is fragile. Will extra Roma artist change into seen on a nationwide or worldwide stage? Will extra artists follow a community-driven method that avoids the othering gaze and bland generalizations? Will extra artists elevate the person above a story about universality? On the finish of the day, it takes multiple artist to carry a whole group to life. As soon as the Venice Biennale’s mud has settled my hope is that each one these communities dropped at our consideration by Mirga-Tas, Leigh, Boyce, Sedira, and others will maintain a everlasting place inside the artwork world — past tendencies and goodwill gestures.
Małgorzata Mirga-Tas’s Re-Enchanting the World represents the Polish Pavilion on the 59th Worldwide Artwork Exhibition of La Biennale di Venezia, on view by means of November 27. The pavilion was curated by Wojciech Szymański and Joanna Warsza.