L’étrangère
curated by Elena Karpilova
Elena Karpilova L'Érangere
The exhibition "L’étrangère"* is organized within the framework of the Second Lisbon Jewelry Biennale in 2024.

It is dedicated to the phenomenon of migration, change of residence and forced displacement, which occurs for various reasons, but is always primarily driven by politics. Whether it's leaving a country to save one's life during wartime, the inability to live under a totalitarian regime or the desire to obtain a better education, all these are reasons existing within the context of state politics.

All of these are forms of forced migration in one way or another. Although at the official level, states are not so inclined to call them such. This makes us think even more about the role of the individual, their importance in the context of the state phenomenon.
For example, labor migration is officially considered voluntary (International Convention on the Protection of the Rights of All Migrant Workers and Members of Their Families, 1990). Although it's extremely difficult to agree with this.

The exhibition "L'Érangère" features jewelers who, from their own experience, know what forced migration is. Those who have themselves experienced migration at some point of their lives, perhaps in childhood or perhaps their family history is connected with this phenomenon.
The exhibition will take place in the apartment rented by its curator, Elena Karpilova, who was forced to leave Belarus in March 2022.

This is a simple apartment that Elena and her husband have been renting for almost two years and which has become a new home for the curator. And for a while, it will become a home for the jewelry exhibition.
All the furniture will be in its usual places. Visitors will be able to relax, see a Portuguese apartment, and notice traditional mold in the corners of the walls, typical for this country.

Elena will prepare traditional Belarusian dishes, teas, lemonades so that visitors can feel at home. The most tired visitors will even be able to take a nap in one of the two rooms.

Welcome to a temporary home!

*The title is a quote from Albert Camus' novel "L'Étranger", published in 1942 in the midst of World War II. The added "e" at the end indicates the feminine gender in French, referring to the female gender of the exhibition curator.
Participants
Ana Escobar Saavedra
Anastasia Rydlevskaya
Elena Karpilova
Helen Clara Hemsley
Into Niilo
Julieta Ruiz Argañaraz and Maria Motyleva
Nastasia Fomina
Sharareh Aghaei
Tamara Marbl Joka
Tzu-Yun Hung
Manifesto or Where Will We Live Together? [1]
At the 2021 Venice Architecture Biennale, curator Hashim Sarkis posed a rhetorical question: "How will we live together?" The question sounded particularly poignant due to the post-pandemic period. Are we ready to come together again, to be a society, to communicate as we did before?
I believe Sarkis's question can be followed by a series of others, among them, the question with the adverbial interrogative "Where."

What has been, is, and will be the place where we live? Is it home, common land, homeland? Or have we all lost everything?

The curator of the 2024 Venice Art Biennale Adriano Pedrosa doesn’t discuss the question, but rather says: "Foreigners are everywhere. There's no way back. The search for home is futile. We've all become foreigners to each other, to the places we inhabit, and this began centuries ago when some countries decided to embark on a colonial march around the world."
Azin Sultani
Description of the photos:
Claire Fontaine, Installation Foreigners Everywhere during 2024 Venice Art Biennale, photo by Elena Karpilova
Home is not only necessarily a place of residence. It is a state, an atmosphere, it is a phenomenon existing in a spatial-temporal [2] continuum. It is to some extent an event of the soul, localized in a certain segment, be it time or space. The causality of the human need for home as a phenomenon can be explored extensively.
Azin Sultani
Screenshot from "No Home Movie", Chantal Akerman, 2015.
Even if I had a home in Paris and sometimes in New York, I would say I have to go home. it would be going to my mother.
Chantal Akerman, Belgian film director and screenwriter who explored existential questions of belonging to space/place/home in her works.
Even human behavior models depended on whether a person was at home or away from home [3]. Thus, it turns out that we are completely different people at home and outside of it.
Azin Sultani
Azin Sultani, Inside and Outside, Brooch No.2, bricks, silver, 2023.
Brooch is made of miniature bricks, faithfully replicating traditional Iranian houses. From the outside, they all look the same, modest. Inside such houses, there are colorful paintings, mirrors, and abundant decorations.
The way we have become after leaving our homes is not our decision but the result of the circumstances in which a person finds himself. We leave our homelands, countries, lands, and regardless of our desires and capabilities, we inevitably become different people in any case.
Photo Mare Nostrum, by Massimo Sestini, 2014, source. In June 2014 Massimo Sestini was working on the Bergamini Frigate, during the Mare Nostrum Operation (MNO) organized by the Italian government, in response to the drowning of hundreds of migrants off the Island of Lampedusa on the 3rd October 2013. MNO involved the Italian Red Cross, Save the Children and other NGOs in an effort not only to rescue lives, but also to provide medical help, counselling and cultural support to people risking their lives to cross the Mediterranean Sea.
Surviving, fighting, defending, seeking, learning, fearing — these are the basic set of actions, the infinitives of a new language for an emigrant, that each of us learns when stepping beyond the boundaries of our home, starting from leaving the mother's womb to moving with suitcases to another country. Life becomes a quest: for new jobs, social connections, and, essentially, raison d’être.
Tieke Scheerlink, Precious People, object, silver, 301 recycled brilliant cut stones, 2021
In fears and doubts, how do we save ourselves?

The refuge is the form of a home in itself. That is our desire to escape, to hide gives us the feeling of home at the psychological level even though the real home in the physical sense doesn’t exist. Our consciousness, our accumulated experience, reason, returning us to ourselves, to the soul, which, fortunately, is an immutable home for us [4].

Migration is not just leaving home, but in both literal and metaphorical senses, it is crossing a certain line, whether it's a formal border of a state or a line beyond which we already feel outside of the standard safe and comfortable state.
Archetypos CASA. Ana Pina, 2024, pin/earrings. Sterling silver, plastic (architectural model miniatures, scale 1:100), 60x60x15mm
However, by crossing the line, limits, boundaries, are we not gaining, in addition to discomfort, the desired freedom as well?
Having one foot in one country, and the other in another, I find my situation to be a happy one in that it is free.
René Descartes, 1648
The joy of being "rootless" while still maintaining a connection to one's roots largely depends on a person's openness [5]. The most open-minded individuals choose migration not only as a way of life but also as a language of expression. The journey, covering distances, kilometers of roads, are poetic and conceptual for artists, creators who consciously choose such a lifestyle and existence, constructing a creative approach around movement in space, creating the whole approach to the phenomenon of mobility, such as walking art, for example, Monique Besten. This migration can be considered existential [6].
Monique Besten
Monique Besten, suit & walking cart, from the website
For some, and perhaps still for the majority, long-distance migration is a forced means of survival, in my opinion, largely driven by political reasons. Can migration other than existential be voluntary? Statistics, research sometimes tell us controversial conclusions. For example, labor migration is officially considered voluntary (International Convention on the Protection of the Rights of All Migrant Workers and Members of Their Families, 1990). Although it's extremely difficult to agree with this.

Bustling, lively, and filled with people, parks and open spaces are not just places for leisurely outings of well-to-do families. If you look closer, they also serve as safe havens for many foreigners and immigrants. Here, they find comfort. There’s no rent to pay, no restrictions, and everyone is equal. Essentially, these are "third places" [7] as defined by Ray Oldenburg, existing between the first place (home) and the second place (work). For those without a home, these third places become crucial. In fact, these third places often become more of a home or workplace than actual ones.
The place for them all, a meeting place for lovers, a club for people of common tastes or interests, an office for an occasional businessman, a resting place for a dreamer, and a home for many lonely souls.
T. W. MacCallum. A description of the Viennese coffee house, The Vienna that's not in the Baedeker, guidebook, 1931
(E)migration can end tragically. Like the brilliant 20th-century Jewish philosopher Walter Benjamin, who fled Germany at the very beginning of the Nazi Party's rise to power. He changed addresses 28 times in his life. His journey and search for home ended for him in the Pyrenees, where he could not cross the Spanish border (he wanted to go then to Lisbon and fly to US) because the border guards did not want to let him through with refugee documents, and in desperation and unwillingness to return and endure torture, Benjamin decided to end his life by suicide.

The next day after the incident, the border was opened.
It became clear to me that I would have to bid a long, perhaps lasting, farewell to the city of my birth. In this situation … I deliberately called to mind those images which, in exile, are most apt to awaken homesickness: images of childhood. My assumption was that the feeling of longing would no more gain mastery over my spirit than a vaccine does over a healthy body.
Walter Benjamin, 1938 [8]
Kumonoie Brooch, “Kumonoie” literally means a 'house in the clouds'. This transpired from the idea of creating a heavenly home, a sanctuary for ourselves and loved ones. It is indeed an urn, a vessel where one can put one’s ashes, memories and emotions. "In 1991, I bid farewell to my beloved mother while I was still a student of fine arts. For two and a half years, her urn remained close, accompanying me on
occasional journeys. In 1994, upon completing university, I laid my mother
to rest in a church cemetery, yet the profound sense of loss lingered. It
was during this time that I began crafting 'Kumonoie'; envisioning homes
in heaven where loved ones reside, brimming with memories and
emotions."
Can we ever completely forget about the place where we were born, spent our childhood, or even more? The concept of the transmigrant [5] suggests that people leave with them connections, contacts with their native country, refusing to live only in the paradigm of a new place of residence and a new system. For decades, such a transmigrant lives amidst a multitude of homes, cultures, traditions, existing in an intermediate state.

Perhaps we are now entering an era where the word "migrant" is becoming obsolete, an era of the end of belonging and global homelessness [9], where home remains only a forgotten symbol of the past.
House (1993), Rachel Whiteread © Rachel Whiteread. The artist casted the interior of an entire house condemned to demolition in London’s East End because of the gentrification. After a few months the work was demolished because of the controversy among society.
We, (e)migrants, can be called by different names: nomads, expats, refugees, travelers, foreigners. Or perhaps we are all pilgrims, with our strange faith, embarking on a long and vital journey to a holy place we have not yet found.

Bibliography:

[1] Official Biennale page
[2] Adolf Grünbaum, Philosophical Problems of Space and Time, 1973
[3] Watkins C. Studies in Indo-European Legal Language, Institutions and Mythology. Proc. 3-rd Indo-European conf. Indo-European and Indo-Europeans. Philadelphia, 1970. P.321-354.
[4] Gastond Bachelard, The Poetics of Space, 1964. Bachelard justifies his choice this way: "Our soul is our dwelling. Remembering different homes, different "rooms," we learn to live inside ourselves."
[5] Levitt, Peggy, and Nina Glick Schiller. "Conceptualizing Simultaneity: A Transnational Social Field Perspective on Society." International Migration Review 38.145 (2004): 1002-1039.
[6] Madison, Greg (2006) Existential Migration. Existential Analysis.
[7] Oldenburg, Ray (2000). Celebrating the Third Place: Inspiring Stories about the «Great Good Places» at the Heart of Our Communities. New York: Marlowe & Company
[8] Walter Benjamin: Selected Writings, 4: 1938–1940
[9] The End of Belonging: Untold stories of leaving home and the psychology of global relocation, by Greg A Madison PhD, 2009
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