“Refugium, refugia” al MuME – Museu Memorial de l’Exili

1936-2019: 80º anniversario de La Retirada

Il 9 novembre si inaugura la mostra “Refugium, refugia” presso il MuME, Museu Memorial de l’Exili a La Jonquera (Spagna).

Dal 9 novembre 2019 al 2 febbraio 2020
Opening sabato 9 novembre alle 12h

Museu Memorial de l’Exili, c/Major, 43-47, 17700 – La Jonquera (Spagna)
+ info:
www.museuexili.cat

Il 18 gennaio 2020 si terrà una visita guidata alla mostra e al Memorial di Rivesaltes. È possibile prenotare un posto sull’autobus che parte da Barcellona. Per maggiori informazioni clicca quì.

Continua a leggere “Refugium, refugia” al MuME – Museu Memorial de l’Exili

Art and Memory – On the Border, MuME – Museu Memorial de l’Exili

To both be and make a border is the primary motivation of this artistic project by Marco Noris. The artist spent almost a month walking the line of the border in the Pyrenees from Andorra to Portbou. An invisible geographic line that is the product of a superimposed layer of historical events, which is made visible through the hundreds of milestones (mugues) that delimit the separation between the countries.

Marco Noris’ itinerary has a pronounced experiential character manifested by the exercise of painting in the open air. In this sense, what apparently seems a playful and contemplative attitude of the artist in relation to the landscape, becomes an action that assumes the form of a critical inventory of the fact of the border and everything related to it: refugees, exile, exclusion, marginalization. In other words, the distance, fatigue and weather conditions experienced by the artist himself acquire an allegorical configuration that refers to all those unfortunate souls of yesterday, today and the future.

These drawings made in situ during the trip, which may be understood as something between a personal diary and a notarial record reaffirming the line of the border, evoke the artist’s visual and emotional connection with a context both inhospitable and fascinating, thereby developing an entirely new setting for memory.

Jordi Font Agulló
Director of MuME

Art and Memory. Marco Noris, “On the Border”
From October 28, 2017 to January 28, 2018

Museo Memorial del Exilio (Exile Memorial Museum), c / Mayor, 43-47, 17700 – La Jonquera (Spain)

Tuesday to Saturday, from 10 am to 6 pm and Sundays and holidays from 10 am to 2 pm.
Closed Mondays except holidays. For Christmas holidays the museum is closed on January 1st and 6th and December 25th and 26th and on December 24th and 31st it is open from 10am to 2pm.

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It wasn’t the sun, Marco Noris solo show at Trama Gallery

“Entitled No era el sol [It wasn’t the sun], the exhibition showing a lot of Noris’ work developed around the disappearance in the mass graves, the cruelty of borders, the civil war, exile and uprooting, as well as environmental matters using metaphors for both our material and moral ruins, and readings at a more introspective level as a first and unavoidable step towards accepting denial and shadow to deal with the escalation in technology, excessive consumption and entertainment that blinds us all.”
Continua a leggere It wasn’t the sun, Marco Noris solo show at Trama Gallery

“(Un)refuges” solo exhibition by Marco Noris at the Roman Temple of Vic

The series of paintings that Marco Noris is presenting at the Roman Temple is the first result of his work about exile and rootlessness; a journey between past and present, historical memory and contemporary migration policies.

From November 23, 2016 until January 1, 2017.
Opening: Friday, November 25 at 7pm
Temple Romà – Carrer Pare Xifré, Vic (Barcelona)

+ info: www.viccc2016.cat/novembre/inrefugis-de-marco-noris

(Thanks to Miquel Bardagil and Marta Huguet)

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In frontiera

In frontiera – 18 agosto 2017 / 11 september 2017 / 290 km, 25 giorni, 198 cippi di frontiera, 212 opere

ProjectArtworks  – BookRouteCredits

In the summer of 2017, Noris walked the 290 km of the Spanish-French border in the province of Girona, through which the principal routes of the republican exile ran. During the walk, the artist painted a work corresponding to each of the 198 milestones that mark the border. To walk and paint, joining together points along the border, as though balancing on that invisible line that divides in two that which is one, making visible what is invisible and opening up in this way a new stage for memory.

Over these past four years I have been working with the landscape as a stage and as a border, but always from the comfort and distance of the studio. The need for direct experience, to put myself out there and confront the real without any filters, is what led me to undertake “On the Border”.
The project involves walking the entire Spanish-French border in the county of Girona and making a small oil painting at each of the 198 milestones that mark the limit between the two countries. It will not be a visual documentation of the milestones (which have already been photographically catalogued), but rather an emotional recording of the environment, according to whatever the geographical and environmental conditions may be. For this reason, the extreme connection with the environment and the present moment that open-air painting permits is fundamental to allowing the project to acquire a strong experiential value. In this sense, the pieces are not the objective of the journey: the experience itself is the goal, the experience of making and being the border, the introspection of a long walk in nature, the journey and its difficulties. To paint pieces as if they were markers and to walk joining together points along the the border, as though balancing on that invisible line that divides in two what is one, is to make visible the invisible and thus open up a new setting for memory.

+ INFO ABOUT SPANISH-FRENCH BORDER STONES

Muga (“border stone”) is a word of Basque origin used in the Catalan Pyrenees instead of mojón (or hito, in Spanish) and fita (in Catalan). Here is an article written by Josep Estruch for “On the Border” on the etymology of the word.


ProjectArtworks  – BookRouteCredits

Refugium, refugia

2013/2019

Valdelallama, León

Valdelallama, León

2015, oil on canvas, 33x41 cm

Valdemorilla, León

Valdemorilla, León

2015, oil on canvas, 33x41 cm

Alanis, Sevilla

Alanis, Sevilla

2015, oil on canvas, 33x41 cm

Alfacam, Granada

Alfacam, Granada

2015, oil on canvas, 27x35 cm

Rivesaltes: The ruins and the shadow II

Rivesaltes: The ruins and the shadow II

Rivesaltes: The ruins and the shadow II - 2013 - 32x40 cm, oil on canvas

“Le ciel bas et lourd pèse comme un couvercle”

“Le ciel bas et lourd pèse comme un couvercle”

“Le ciel bas et lourd pèse comme un couvercle” - 2014 - 22x35 cm, oil on canvas

Rivesaltes: The ruins and the shadow I

Rivesaltes: The ruins and the shadow I

Rivesaltes: The ruins and the shadow I- 2013 - 100x130 cm, oil on canvas

Border crossings of exile: Coll de Malrem

Border crossings of exile: Coll de Malrem

Coll de Malrem - 2014 - 90x146 cm, Oil on canvas

¿Qué hicieron de vos, hijo que no acabó de vivir? ¿acabó de morir? ((Un)refugees IV)

¿Qué hicieron de vos, hijo que no acabó de vivir? ¿acabó de morir? ((Un)refugees IV)

“What did they do to you, son, who did not quite live? did not quite die? ((Un)refugees IV) - 2014 - 130x97 cm, oil on canvas

(Un)refugees II

(Un)refugees II

(Un)refugees II - 2014 - Oil on canvas, 146 x 146 cm

(Un)refugees III

(Un)refugees III

(Un)refugees III - 2014 - 170x120 cm, Oil on canvas

(Un)refugees I

(Un)refugees I

(Un)refugees I - 2014 - 130x89 cm, oil on canvas

Rivesaltes (Ruins IV)

Rivesaltes (Ruins IV)

2013, oil on canvas, 40x30cm

Rivesaltes (Ruins I)

Rivesaltes (Ruins I)

Rivesaltes (Ruins I) - 2013 - 19x33 cm - Oil and bitumen of Judea on canvas

(Un)refuge

(Un)refuge

2016, oil on canvas, 60x81 cm

Mediterranean beach

Mediterranean beach

2016, oil on canvas, 33x60 cm


European tumulus

European tumulus

2016, oil on canvas, 30x30 cm

Child - (Un)refugees VII

Child - (Un)refugees VII

2015, oil on canvas, 46x36 cm

Line - (Un)refugees VI

Line - (Un)refugees VI

2015, oil on canvas, 38x61 cm

(Un)refugees IX

(Un)refugees IX

2016, oil on canvas, 100x81


(Un)refugees VIII

(Un)refugees VIII

2015/2016, oil on canvas, 100x100


Camp

Camp

Camp - 2015, oil on canvas, 100x100

Mound with Moun

Mound with Moun

2016, oil on canvas, 30x30 cm

Mounds

Mounds

2016, oil on canvas, 24 x 33 cm

Mounds (Nocturne)

Mounds (Nocturne)

2016, oil on canvas, 24 x 33 cm

The ruins and the shadow IV

The ruins and the shadow IV

2016, oil on canvas, 65x92 cm

Rivesaltes (camp II)

Rivesaltes (camp II)

2016, oil on canvas, 70x100 cm

Alfacar, Granada

Alfacar, Granada

2017, oil on canvas, 100x130 cm

Maremortum II

Maremortum II

2016, oil on canvas, 163x163 cm


Maremortum I

Maremortum I

2016, oil on canvas, 100x100 cm


Un paio d’anni fa, durante una visita al Museo dell’esilio de La Junquera, al confine tra la Spagna e la Francia, scoprì l’esistenza del Campo Joffre di Rivesaltes, un ex campo di concentramento nel sud della Francia che è stato aperto negli anni trenta del secolo scorso per alloggiare gli esiliati spagnoli durante la guerra civile. Il campo è rimasto aperto per quasi 70 anni, essendo utilizzato anche come un campo di concentramento durante l’occupazione nazista e successivamente come campo di internamento per harki algerini. La storia di Rivesaltes è una storia drammatica che attraversa tutto il ventesimo secolo e per questo si presta ad essere utilizzata come guida per una indagine sui tragici eventi della storia europea contemporanea. Rivesaltes non è solo un luogo geografico, è anche – soprattutto ora che le rovine hanno lasciato spazio alla memoria – uno spazio emozionale collettivo.

Questi lavori nascono dalle macerie del campo, carnefice e testimone dell’orrore delle deportazioni naziste e del dramma dell’esilio di migliaia di esseri umani. La memoria di Rivesaltes è la realtà attuale dei campi che per tutto il mondo e alle porte d’Europa ospitano milioni di vite, milioni di rifugiati, milioni di drammi: le rovine del campo sono il passato che ci unisce al presente e all’attuale politica migratoria dell’Unione europea. Nonostante ciò, questo non è un lavoro su Rivesaltes; non vuole essere una ricerca storica: qui la storia è piuttosto la guida per un viaggio nella memoria emotiva collettiva, cercando l’universalità dell’esperienza individuale, al di là d’epoche, confini o nazionalità.

La parola rifugio ha le sue radici nella parola latina refugium. Questo termine si usava per riferirsi tanto al luogo in cui si trova riparo quanto a una via di fuga. In altre parole, si riferiva a un luogo al sicuro da pericolo (non necessariamente fisico e immediato) o a un mezzo –o una via– per sfuggire a una situazione pericolosa. Significa anche “ritorno” e si oppone al concetto di “defezione”. Il plurale –refugia– si riferiva a luoghi nascosti nelle case romane dove il padre della famiglia poteva nascondere le loro proprietà se ci fosse stato un incendio o un attacco nemico.

Riparo, fuga, ritirata, uscita. Termini che indicano sia un ritiro che un movimento verso l’esterno, in ogni caso uno stato di transito permanente e pericolo.

Le opere presentate in “Refugium, refugia” ritrae i luoghi dello sradicamento fisico ed emozionale, in cui il bisogno di protezione è accompagnato dalla sua negazione e dove la soluzione alla tragedia è solo il male minore. I campi sono allo stesso tempo rifugio e condanna e certificano la perdita di dignità e di identità del rifugiato, fratturato, separato dalle sue radici, dalla sua terra, dal suo passato. Luoghi in cui la sepoltura spesso succede all’esilio. Fosse comuni, buche, tumuli, scatole, rifugi reali o simbolici, alternative ciniche alle ciniche politiche europee. Il rifugiato come condizione intrinseca dell’esiliato, dove l’impossibilità di tornare a casa è l’impossibilità assoluta e definitiva di crearne un’altra, perché lo sradicamento è un trauma irreversibile che colpisce i fondamenti stessi dell’essere umano.

“Refugium, refugia”, MuME, Museu Memorial de l’Exili (La Jonquera, Spagna), 2019. More info