Citation

Salemink O. Int. J. Herit. Stud. 2024; ePub(ePub): ePub.

Copyright

(Copyright © 2024, Informa - Taylor and Francis Group)

DOI

10.1080/13527258.2024.2315240

PMID

unavailable

Abstract

Long considered a cultural contact zone, the Mediterranean has become a weaponised border zone keeping refugees from Africa and the Middle East away from 'Fortress Europe'. The Mediterranean has become excessively dangerous to cross, leading many commentators to call this maritime space a 'massive graveyard'. The widespread indifference and enmity towards migrants in Europe is, amongst other things, countered by documentary and commemorative projects by artists drawing attention to the suffering of drowned refugees. In this paper, I zoom in on documentary and memorial artistic projects by Mimmo Paladino, Jason deCaires Taylor, Christoph Büchel, Ai Weiwei and Đỉnh Q. Lê. In the frequent absence of dead bodies and specific grave sites on the 'high seas', they make claims regarding the humanity, singularity and memorability of the human lives of refugees drowned at sea. Based on a description of the artworks and their public, I make two interlinked theoretical arguments. First, the commemorative materialisations by contemporary artists are temporal claims to constitute the cultural heritage of the future. Second, given the sea's aquatic materiality, the commemorative claims of these art projects require that commemorative materialisations must spatially move from the flux of the sea to the fixity of the land.

Language: en

Keywords

commemorative artworks; Drowned refugees; maritime heritage of the future; Mediterranean