Keep Your Eye On The Right Hand!

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European / Western wish for innocence, for purity of spirit, takes tens of millions of dollars to keep up. All sorts of bizarre, racist, programs have to be designed, and all sorts of institutions – scientific, civic, policing, political, social and cultural, are unleashed onto the unthinking citizenry, to seduce and numb them back to their place of quiet subservience and obedience. Here, the French yet again prove their determine war against truth and history. Just as before they spent tens of millions erasing their colonial legacy, their Algerian nightmare, their massacres on the streets, and their social and economic discrimination of a large percentage of their citizens, they are now aiming at any remembrance, or evidence, of the fact that France has been a nation at war in the Middle East, and West Africa, for over a decade now.


And hence, science – that easily manipulated and abused human endeavor, is put to the task:

A scientific committee to research the reasons for radicalisation and terrorism is also being established, with university grants for related studies. France’s intelligence and security services are to be given more staff and money.

Science was the hand-maiden of racism and its child, eugenics, it offered the justification for colonial takeover and repression, it justified genocidal madness against the wogs. Science, that apparently great achievement of Europe, that has offered us, we are told, the miracle of the iPod, with the small price we had to pay to do it, in the form of genocidal deaths of a few hundred million brown/black/yellow wogs.

And so, the French now search ‘high and low’, employing anthropologists, ethnographers, sociologists, psychologists, psychiatrists, and many more ‘scientists’ to figure out through ‘rigorous’ research, as to why these barbaric brown bodies are constantly drawn to animal like violence, inexplicable violence, unprovoked violence, unnecessary violence, unjustified violence, and simply inhuman violence.

The prime minister of France, Manuel Valls, said fighting the appeal of “deadly” doctrines was the greatest challenge the country faced in more than 70 years. He said there had to be a “general mobilisation” of all sectors of society to fight the problem following the terrorist attacks in Paris last year. ‘There was nobody to help me stop my son joining Isis’

Radicalisation and terrorism are linked. We are faced with a stubborn phenomenon that has widely spread through society and which threatens it because it could expand massively,” Valls said.”

Indeed, for this is the ‘greatest challenge’, simply because it is also the hardest to sell to the citizens. As a broken and hollow French social and economic space is veiled from its unthinking citizenry, as fear and paranoia have become necessary to distract the people from their own dispossession and the destruction of their rights, it is indeed one of the ‘greatest challenges’, not because it exists, but because it will be a very, very hard sell.

And so, racism will be further enshrined in political policy, in policing policy, in social policy, in welfare policy and in social and cultural discourse. And this isn’t even Le Pen, but our ‘republic’ loving, liberal government, cementing the role of ‘the brown / black’ as suspicion, as fearsome, as dangerous, as deviant, as prone to acts of senseless violence, as fragile and a ticking time bomb.

la république est morte, vive la république

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From “Headmen” To “Hitmen”–A People Brutalised Yet Again

Another photographer turns up at another manufactured ‘traditional’ geography, and produces another set of racist, reductive and entirely fake set of images. I don’t mean ‘fake’ in the way that most photographer’s get all concerned about. I mean ‘fake’ in a much more serious way, one that reduces people to social, political and historical caricatures and makes them into concocted objects for class titillation and voyeurism. And this American magazine–mired deep in the heart of American imperialism, its violence and its brutality–publishes the images and accompanies them with what can only be described as one of the most incredibly ahistorical, obfuscatory and infantile articles I have read outside of stuff frequently published by Time Magazine and/or The New York Times.

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Thomas Sankara’s Restless Children

The project is now complete. Although, we may never really complete the telling of this remarkable story. You can see the project by clicking on this link here, or on the image below.


Eyes Of Aliyah–Deport, Deprive, Extradite Initiative By Nisha Kapoor

I have publicly and on this forum very explicitly argued against the strange ‘disappearance’ of black/brown bodies that are the actual targets and victims of our ‘liberal’ state policies of surveillance, entrapment, drone assassinations, renditions and indefinite detention. I recently argued:

“Western visual journalism, and visual artists, have erased the actual victims of the criminal policies of the imperial state. Instead, most all have chosen to produce a large array of projects examining drone attacks, surveillance, detentions and other practices, through the use of digital abstractions, analogous environments, still life work or just simply the fascinating and enticing safety of datagrams and charts. Even a quick look at recent exhibitions focusing on the ‘war on terror’ or wars in general, have invited works that use digital representations of war, or focus on the technologies of war. An extreme case of this deflection are recent projects on drone warfare that not only avoid the actual brown/black bodies that are the targets of deadly drone attacks, but are not even produced anywhere near the geographies and social ecologies where drone attacks continue to happen! Yet, these works have found tremendous popularity, though i remain confused what kinds of conversations or debates they provoke given that the voices of the families of those who have been killed, are not only entirely missing, but people who can raised the difficult questions about the lies and propaganda that are used to justify the killings, are also entirely missing.”

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Public Release of “The Sinner”

This is my first feature length documentary film and we–Justice Project Pakistan, with the guiding support of Sarah BelalRimmel Mohydin and others at Justice Project Pakistan, are finally releasing it.

And we are doing it first in Pakistan.

The film takes us into the world of capital punishment in Pakistan through the life of one man; Jan Masi. Jan Masi worked as an execution for nearly 30 years, and claims to have executed over 1800 people. He started his work in the enthusiastic pursuit of revenge for the execution of Pakistan’s Prime Minister Zulfiqar Ali Bhutto.

This isn’t a typical documentary film. No talking heads. No linear story-telling. No polemics or moral grand standing. No righteous exclamations against capital punishment. Instead, Jan Masi, his life, his scars, his fears and despair, act as metaphors for the meaning of capital punishment in Pakistan, and the consequences it has on the broader Pakistani society.

Sudhir Patwardhan

Sudhir Patwardhan.

Can you discover ‘an influence’ after the fact?

What do you call someone who seems to embody your eye, your sensibility, and yet you had never seen his / her work, and yet, when you now see it, you see the ‘influence’…the similarities?

Is he confronting the same questions? Is he seeing this incredibly complex and multi-layered world with the same desire to depict it as close to that complexity as possible?

I was taken aback. The aesthetic pursuit is so familiar. It is as if he is a step ahead of me. He is a step ahead of me.

I am going through these images–gorgeous, striking, unique, and no, I refuse to give you some ‘European’ reference to understand them in any way. They are Patwardhan’s and his alone. But I want to make them as photographs.

They are the photographs I would make if in Mumbai. It is beautiful stuff. It makes me want to go and make photographs.

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Make It Right For Palestine, November 4, 2017

Be there. Hyde Park. Speaker’s Corner. London. 12:00 noon. 4th November, 2017.

The Polis Project…Is Up And Running

If you can’t join them, then just do it on your own.

We launched a new collective focused on research, reportage and resistance. The specific goals and objectives are being developed as we speak, but the idea is a simple one: to collect under one banner a group of individuals from different fields – artists, writers, academics, photographers, intellectuals, poets and others, who are consistently working against the grain. In this time of collective conformity, and a media sycophancy to power and extremism, some of us felt the need to create a small space where people are still determined to refuse the agendas of political power, debilitating capitalism, nationalist extremism and neoliberal idiocy, and remain fools in their hearts, and idealists in their souls.

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Short Doc: “As If A Nightmare”;The Story Of Former Bagram Prisoner Abdul Haleem Saifullah

 

We are commemorating 9/11 this week, but by remembering the ‘other’ victims of that event that few chose to remember. These are the brown bodies that rarely make it into visual media projects, that since 9/11, have chosen to hide behind digital representations, data charts, and other visual forms that do a lot, but never permit us to see or hear the brown and black people who actually suffer the consequences of drone attacks, sweeping surveillance, targeted entrapment, renditions, indefinite detentions, torture and other forms of inhumanity that today liberal minds seem to be able to easily justify.

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Short Doc: “Prisoner 1432” – The Story of Former Bagram Prisoner Amanatullah Ali

 

We are commemorating 9/11 this week, but by remembering the ‘other’ victims of that event that few chose to remember. These are the brown bodies that rarely make it into visual media projects, that since 9/11, have chosen to hide behind digital representations, data charts, and other visual forms that do a lot, but never permit us to see or hear the brown and black people who actually suffer the consequences of drone attacks, sweeping surveillance, targeted entrapment, renditions, indefinite detentions, torture and other forms of inhumanity that today liberal minds seem to be able to easily justify.

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10 Things To Consider…

I recommend that photographers, photojournalists, documentary photographers remember these wise words by Tania Canas, RISE Arts Director / Member – I am copying and pasting it here. As brown and black bodies are stripped of their clothing, as brown and black children are dehumanised to mere misery, as brown and black women are reduced to simply victims, as ghettos and brothels and refugee camps and slums become the ‘paint by number’ formula for White photographer’s career and publishing success, it becomes increasingly important that those of us on the receiving end of White ‘largesse’ begin to build obstacles, speak back, and refuse / reject these ‘representations’ and their reductive, violent and brutal narrative frames. We have lost too much, and are in danger of whatever little we have left as humans and as histories, if we permit this process to continue.

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