In ‘Home,’ Animator Anita Bruvere Weaves a Poetic Story of Immigration through Stop-Motion Scenes
19 Princelet Street in London’s East End boasts a richly diverse history that’s emblematic of the neighborhood. The modest brick building once housed Huguenot silk merchants, Irish weavers, and Jewish tailors who fled persecution and struggles within their home countries. Today, the Museum of Immigration and Diversity inhabits the space, securing its legacy as a welcoming, communal environment for people in need.
A profound, meditative short film by Anita Bruvere reflects on this history through intimately crafted stop-motion scenes. Aptly titled “Home,” the animation peers in on the families who occupied the Princelet Street rooms, portraying the two-dimensional figures on acetate. Weaving and sewing practices occupy much of their time and connect each group as the textiles seamlessly flow from one to the next, which Bruvere describes in an interview:
I was interested in how people of different times and generations, coming from different cultures and backgrounds, are connected through the places they occupy and the experiences they share. I wanted the film to be quite poetic, telling the story from the perspective of the house using fabric: the common trade shared by the area’s many immigrant communities.
An immigrant herself, Bruvere conveys a heartbreaking relevancy to such a historic narrative. “It was startling to discover that the public discourse around the issue of immigration hasn’t really changed that much over the last 300 years,” she says.
Watch the film above, and find more of Bruvere’s projects on Vimeo.
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Interview: Rael San Fratello Navigates the Boundaries of 3D Printing, Architecture, and the Impact of Division
Virginia San Fratello and Ronald Rael of the eponymous studio Rael San Fratello (previously) foster a practice that’s difficult to categorize, which they speak to in a new interview supported by Colossal Members. The pair pursue projects that transcend the boundaries of design, art, technology, and craft: they continually address the implications of the U.S.-Mexico border wall, had a hand in the iconic Prada Marfa, and have constructed homes entirely through 3D printing. Although their interests are broad, Rael San Fratello is always committed to the material and structural, to recognizing everyone’s humanity, and to finding sustainable, practical ways to create a more hospitable future.
It was our hope that people would be able to relate to some of the spaces we created and would be able to understand and literally feel the bereftness, loneliness, and loss created by the division in the house. These are emotions that we all have and we all understand. With this project, we wish to communicate how the (border) wall is not only dividing places. It’s dividing people. It’s dividing families and how the unfortunate politics of the wall today is dividing children from their parents.
In this conversation, the pair speaks with Colossal managing editor Grace Ebert about applying their 3D-printing practice to larger projects, the role tradition plays in their works, and how, as educators, they encourage their students to embody the same innovative, endlessly curious mindset.
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A Bold, Architectural Installation Recreates an Ancient Roman Gatehouse with Messages of Belonging
Temporarily occupying the site of the ancient Housesteads Roman Gatehouse at Hadrian’s Wall, a vibrant installation by British artist Morag Myerscough recreates the structure that once stood on the bucolic landscape in northern England. “The Future Belongs To What Was As Much As What Is” is a bright, architectural reinterpretation of the 2nd-century building, reaching the same 8.5 meters high and 12.5 meters wide as the original construction. A staircase tucked inside the scaffolding allows visitors to climb to an upper outpost and look over the landscape, offering a view that’s been unavailable for the last 1,600 years.
To create the patchwork, typographic facade, Myerscough collaborated with community members and poet Ellen Moran. Each panel is bright and geometric, and while some reference artifacts found on the site, many contain messages relating to borders, connecting the historic landmark that once defined the edge of the Roman empire to contemporary immigration issues. “We hope that placing such a bold contemporary art installation in this ancient landscape will not only capture people’s imagination but maybe also challenge their ideas of what the wall was for. Not just a means to keep people out, but a frontier that people could— and did—cross,” says Kate Mavor, the chief executive of English Heritage.
The installation opens on July 30 to coincide with the wall’s 1,900th anniversary and will be up through October 30. (via Dezeen)
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Hundreds of Minuscule Figures Unite in Pejac’s New ‘Welcome’ Mat Intervention in Aberdeen
The entrance to a building housing some of Aberdeen’s most vulnerable residents and charity organizations is the site of the latest work by Pejac (previously). Comprised of minuscule figures congregating as a welcome mat, the streetside intervention confronts the hardships people face when relegated to society’s margins. The idea is that they’re “tired of being stepped over,” the artist says, and that there’s hope, dignity, and pride to be found when we’re united.
Pejac created the heartfelt piece for the 2022 Nuart Aberdeen (previously), which brought at least a dozen artists to the city this month. For more of his works, visit Instagram.
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Portraits of Venezuelan Families Reframe the Harrowing Journey of Immigrants
In his Undaily Bread series, Gregg Segal photographs Venezuelan immigrants with the entirety of their belongings lying around them. Created in collaboration with UNHCR, an organization that helps refugees worldwide, the affective project shows a glimpse at what life as a Venezuelan refugee looks like, from the meager ingredients of their daily meals to the battered sneakers on their feet. Every image posted on Segal’s Instagram also includes a lengthy caption describing each family’s difficult journey.
“For me, photography communicates better than simply words. Statistics are important, but people are not that interested in statistics,” Segal tells Colossal. “They’re emotional because they describe how little the people have.” This consequential series is an offshoot of Daily Bread, Segal’s well-known project that captures images of kids from around the world surrounded by what they eat each day.
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A Swedish Art Collective Handcrafts 17,000 Unique Sculptures Signifying Refugee Youth at Risk of Deportation
Seventeen thousand unique sculptures are displayed in a new installation by Swedish artist collective Skaparkollektivet Forma. The group sought to draw attention to the individuality of 17,000 Afghan refugee youth whom the Swedish government plans to deport. The unaccompanied minors came to Sweden in 2015, totaling 23,500 in that year, and were fully integrated into their adoptive communities. However, the government seems to have shifted gears and has reversed its opinions on a majority of the young people.
Working with 1,500 volunteers, Skaparkollektivet Forma created petite sculptural works of art to represent each individual impacted by the planned governmental uprooting. The works are glued to 34 frames in groups of 500, which allows the installation to be easily transported and installed in different configurations.
Since the collective started working on this project, attention has been drawn to the issue, and some of the youth have been allowed to stay, but apparently the majority of the planned deportations are still set to happen. “In the debate on migration, living human beings tend to be transformed into anonymous volumes,” said Skaparkollektivet Forma told dezeen. “But we wanted to understand what this five-figure number actually represented. The installation makes the number 17,000 visible and above all shows that behind every number there is a person,” they explained. “Behind each figure there is a personality, a story, a work of art.”
The work was initially displayed at Liljevalchs art gallery, which is an independent, public gallery in Stockholm. Follow the collective on Instagram and Facebook for updates. (via dezeen)
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