Director: Iara Lee
Western Sahara/United States/Spain, 2015, 59’, color
English with Turkish subtitles
Forty years after its people were promised freedom by departing Spanish rulers, the Western Sahara remains Africa’s last colony. While a UN-brokered ceasefire put an end to armed hostilities in the territory in 1991, the Sahrawi people have continued to live under the Moroccan armed forces' oppressive occupation, and what peace exists in the area is fragile at best. Tens of thousands of Sahrawis have fled to neighboring Algeria, where over 125,000 refugees still live in camps that were intended to be temporary. In spite of these difficulties, a new movement, with youth at its center, is rising to challenge human rights abuses and to demand the long-promised referendum on freedom. Today’s young generation is deploying creative nonviolent resistance for the cause of self-determination. In doing so, they've had to persevere against a torrent of conflicting forces. While risking torture and disappearance at the hands of Moroccan authorities, they're also pushing back against those who have lost patience with the international community and are ready to launch another guerrilla war. This film examines these tensions as it chronicles the everyday violence of life under occupation, giving voice to the aspirations of a desert people for whom colonialism has never ended.
Trailer
I walk over rocks hot as iron under the September sun. I can make out a few lines in the distance, and a few cracked rocks, but apart from those, not a single tree, not one plant
In 1998 Ben Jakober and Yannick Vu collaborated on an obvious remake of Marcel Duchamp’s Roue de Bicyclette, his first “readymade” object. Duchamp combined a bicycle wheel, a fork and a stool to create a machine which served no purpose, subverting accepted norms of art.
A series of small and rather similar nudes Bedri Rahmi Eyüboğlu and Eren Eyüboğlu produced in the early 1930s almost resemble a ‘visual conversation’ that focus on a pictorial search. It is also possible to find the visual reflections of this earlier search in the synthesis Bedri Rahmi Eyüboğlu reached with his stylistic abstractions in the 1950s.
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