German Version (DE)
The narrative revolves around a Muslim couple living in a well-appointed Western apartment. Despite their impeccable Western attire, they harbor a deep sense of unease, blaming the influence of the Western world for transforming them into different individuals. Their struggle lies in reconciling their past with their present, leading to a tumultuous confrontation with the suppression of their cultural identity.
A pivotal moment occurs when a visitor enters the scene, represented by the camera itself. Both the man and the woman unleash their pent-up aggression upon the visitor, launching a verbal attack that reflects their frustration and resistance towards external intrusions. The camera symbolizes the external influences that challenge their self-confidence and cultural heritage.
As tensions escalate, the Fotonovela reaches a climactic point where the man's aggression takes a haunting turn, revealing the devastating consequences of his entanglement with the Western world. This narrative deeply explores the intricacies of assimilation, the breakdown of personal relationships, and the profound impact of societal and cultural forces on individual lives.
Through its multidimensional approach, Dead Satellites invites viewers to reflect on the consequences of self-ghettoization and the complex dynamics of migration. It raises pertinent questions about the preservation of heritage, the search for a sense of belonging, and the transformative power of societal changes.
"Dead Satellites" was exhibited at the following solo shows, among others:2008: Dead Satellites, curator Malin Barth, Kunsthall 3,14 Bergen, Hordaland International Art Gallery, Bergen, Norwegen