- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - RELOCATED IDENTITIES PART I : OVEREXPOSURE - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 29th May - 19th June 2005 Opening Sunday 29th May : 7pm EXHIBITION Yael Bartana, Hala Elkoussy, Meiro Koizumi, AviMograbi, Katarina Zdjelar. FILM / VIDEO SCREENINGS Sunday 12th, 19th, 26th June LECTURE & ROUND-TABLE DISCUSSION Saturday 18th June 7-10pm ARTIST'S PRESENTATIONS Sunday 19th June 7-10pm Curated by Eva Fotiadi, Adi Hollander, Tamuna Chabashvili - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - In the photographer's dark room negatives are turned to positives, recorded instances become visual narrations. When a photosensitive surface is exposed to light, the light gives birth to an image. Overexposure to light causes the image to distort. The first part of the project RELOCATED IDENTITIES, presented by Public Space With A Roof, is an exhibition on the overexposure of identity-related issues in art events. It brings together, within a single exhibition space, artists from the Balkans, the Middle East, Latin America, and the Far East. Can one ever represent overexposure without adding to it? Exhibition making is never a practice within a vacuum. It is an articulation within the past, present and future of other articulations - of other exhibitions, of other exposures, of the totality of the themes explored, of the people involved, of the vulnerability of those referred to, eventually of wounds that no exposure within an art-world context could ever claim to heal. At present, socio-politically engaged art appears almost to have become the victim of its own overexposure. To what extent has the excess of exhibitions on identity-related themes become a determining parameter, patronising the artists and issues curated? Could overexposure have engendered a negative impact on the meaning and content of this engagement? Or even on the issues handled? Could art have any such power? Or could the context of its staging? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - RELOCATED IDENTITIES PART I : OVEREXPOSURE has two main characteristics. Firstly, by unwarrantedly reflecting world news through the intentionally simplistic understanding of identity as national origin, the gallery presentation includes renowned artists whose national origin constitutes a major contextualising and interpreting tool in the curatorial approaches to which they have been exposed. Secondly, by staging the typical 'parallel events' of most contemporary art exhibitions - discussions, artists' presentations, film screenings and archive materials from previous identity-related art events - Relocated Identities Part I asks to be considered within the whole 'engaged-art-situation' as it has been (re)presented on art platforms over the past few years. In so doing, it stakes its 'success' on the possibility of questioning the potential of its own contextualising and contextualised format. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - RELOCATED IDENTITIES is kindly supported by VSB Fonds, Amsterdam's Fonds voor de Kunst (AFK) and S.I.C.A. Foundation - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -