Nottingham Contemporary present a screening of Creatures of the Lines, plus artist Sonia Levy in conversation with Heather Swanson and Filipa Rampos.
How can we understand extraction beyond the removal and displacement of minerals – to encompass policies, international treaties and regulations that impose controversial forms of stewardship of natural resources on communities?
EURO—VISION is an artist led inquiry into the extractive gaze of European institutions and policies, commissioned by Arts Catalyst and Radar (as part of Risk Related), culminating in a specially designed web platform and series of events throughout March and April 2021.
Initiated in 2018 in collaboration with scholar and media practitioner Btihaj Ajana (King’s College London), the project seeks to make visible the many entangled modes of extraction that Europe enacts on third countries* through the establishment of Free Trade Zones, fisheries partnerships agreements, and investment stratagems.
Over the past two years EURO—VISION has evolved through multiple phases, comprising of fieldwork in Morocco, a residency and public programme at Arts Catalyst, research undertaken at Loughborough University, and a public presentation at Istanbul Design Biennial.
The web platform acts as a resource that reveals and mobilises EURO—VISION’s multilayered body of research developed in conversation with academics, economists, lawyers, activists and journalists. Their voices, insights and knowledge will emerge through video interviews, treaties and documents, as well as a public programme of conversations in the form of podcasts, online workshops, and a series of policy recommendations.
At the heart of the project is the concept of 'critical raw materials'. An essay by FRAUD on their expanded use of this term can be found here.
* A third country is a country that is not a member of the European Union as well as a country or territory whose citizens do not enjoy the European Union right to free movement.
EURO-VISION has been commissioned by Arts Catalyst and Radar, developed in co-collaboration with the Istanbul Design Biennial, and has been made possible by funding from Arts Council England, Canada Arts Council and Accion Cultural. Euro-vision, or the Making of the Automated Gaze was brokered and supported by the Cultural Institute at King's in partnership with Somerset House Studios.
FRAUD (Canada/Spain) is made up of the duo Audrey Samson and Francisco Gallardo. Critical spatial practitioners, they develop modes of art-led enquiry, which examine the process of ‘financialisation’ through extractive data practices, and cultivate critical cosmogony building. FRAUD has been awarded the State of Lower Saxony – HBK Braunschweig Fellowship (2020), the King’s College Cultural Institute Grant (2018), and has been commissioned by the Contemporary Art Archipelago (2020) and the Cockayne Foundation (2018). Recent work includes: Carbon Derivatives, the 57th Venice Biennale, the Whitechapel Gallery, London (2018) and Somerset House, London (2018); Shrimping Under Working Conditions that was shown at Kunsthall Trondheim (2017) and the Empire Remains Shop in London (2016).
Wed 17 March 2021
17:00pm - 20:00pm
Join FRAUD for a workshop exploring the extractivist gaze of the EU’s migration policy in the Mediterranean region. Read more
EURO—VISION | Our Mother Ocean Reading Group
Wed 7 April 2021
19:00pm - 21:00pm
A reading group discussing Our Mother Ocean by Mariarosa Dalla Costa and Monica Chilese. Read more
EURO—VISION | Screening & Conversation
Wed 24 March 2021
18:00pm - 20:00pm
An evening of online screening and discussion curated by artist duo FRAUD as part of EURO–VISION, an artist led inquiry into the extractive gaze of European institutions and policies. Read more
EURO—VISION Assembly: Recommendations for Post-Extractive Futures
Wed 14 April 2021
18:00pm - 20:00pm
How might we imagine post-extractive futures? What knowledges, practices and tactics can we mobilise in order to do so? Read more