This play is a reflection on the (im)possibility of accepting diversity and the other. The fragmented body of the neoplasm—the fruit of unstable conditions—overcomes barriers, loves and denies itself and others, wanders around, forgetting its profession. It frequently and with pleasure divides, goes through dangerous palpation, questions the possibility of contact with the experience of the other. Poorly brought up but very successful, it invites us to a trans-species transition.
Lorem ipsum dolor sit amet, consectetur adipiscing elit. Fusce at elit quis felis ullamcorper vehicula non in est. Maecenas finibus pharetra justo et faucibus. Nulla eu tortor vel ex volutpat efficitur. Vivamus placerat turpis in aliquet venenatis. Quisque ac lacinia mauris. Nam quis lobortis elit. Vestibulum sagittis nisi sit amet euismod hendrerit. Mauris non sodales odio. Donec efficitur molestie quam, sed lobortis massa vestibulum ut.
Nunc at arcu sodales nisi porta euismod non vel neque. Phasellus at lobortis ante, in suscipit justo. Proin non purus vitae nisi molestie consectetur. Vestibulum volutpat lobortis interdum. Vestibulum pretium ligula lorem, egestas ultricies lectus ultricies ac. Curabitur venenatis vulputate dolor.
Squatter Sovereignty: Radical Love presents an almost jewel-like ceramic model of Tahrir Square in Cairo, Egypt. Activated by the viewer, the model turns and the sounds of everyday activities play out; cleaning the streets, praying, chanting, and singing. The victorious form of the model recalls traditional state triumphant edifices, cast in gold and framed by dramatic lighting, yet this is a representation of a spontaneous neighborhood that no longer exists, formed by people who refused to exist under Mubarak and stood in solidarity against his regime. By casting the techniques of victorious representation in the state, with the weak power of ‘the people’ against the state, the work closes the gap between official ornamental representation and incomplete militant processes. In employing varied material in this project under the term ‘Squatter Sovereignty’ Loughran alludes to the potential for these spaces and for ‘squatting’ to take place in multiple spaces at multiple moments. In questioning what is the relationship between them the viewer is invited to consider both the contrasts and parallels between such sites and their potential in becoming. Curated by Georgina Jackson
When
2011
