In his cross-medial project FORTRESS EUROPE, a further elaboration of his Quo Vadis-project, visual artist Mark Swysen forwards fundamental questions on freedom and justice.
He mostly communicates through abstract sculptures in intensely manipulated natural components but surprises with strong, expressive figuration by the means of projection, cartoons, audiofragments or photographic testimonials. The enclosed corridors of the Fortress Napoleon unite the successive art works to one fascinating installation. “Does the advent of foreign cultures represent a richness or a threat to the identity of a community?” The visitor is confronted with both points of view: that of the newcomers as well as that of the anxious caucasian citizen. At the end of the course you cannot escape from your personal opinion on the subject.
The visitor immediately experiences a customs-control. At the ENTRANCE he is waylayed by an over life-sized custodian (Mark Swysen, B) and the menacing image of hermetically closed borders (Jorgen Polman, NL).
Upon entering the EXHIBITION AREA the spectator sees how a female tourist on the Canaric Isles tends to a boot refugee washed ashore: a wink referring to a beach holiday in Ostend. In the first room Mark Swysen puts the migration issue in a historical and biological perspective. Within the contours of a worldmap the artist geographically arranges some 10 small wooden sculptures that are lengthwise cut in and painted. By way of these various barcodes (symbolical DNA-codes) the world population is classified according to their genetic origin. On top of this map, the historical human migrations are projected, starting from the arising of the homo sapiens sapiens species in eastern Africa.
On his way on the visitor walks between impressive abstract sculptures measuring 2,50 meters (Mark Swysen). These human effigies are constructed in wood and bitumen, symbols of our organic, cellular structure. This series, “out of africa”, follows human migration from its African origin to the Middle-East, Europe, Asia en the two America’s. Close to these effigies of our ancestors, a few intriguing installations complete our image of the actual local situation. The voyage through time and space becomes clear by means of the titels with date-indications and the positioning on a worldmap.
At the end of the downward stairways, in the former BAKERY, Mark Swysen surprises the visitor with a number of cartoons elaborating on the controversial subject. They are caricatures on migration and cultural integration or acceptance.
In de 1ste turn of the tour a huge migrant, some 2m50 tall commences his journey. He softly wispers why: authentical testimonials of illegal refugees, recorded in asylums during an interview with Mark Swysen during his research on the subject.
In the 2nd VAULT the voyage continues in a ferryboat « over the river styx « , in shape referring to a coffin. The visitor has to make a physical effort and pull himself across by means of a strong rope. The boat refugee travels in semi-darkness and in dense fog. Upon arrival he comes to a dead end.
Along the road, in the the spectator passes by some unfortunate migrants and left behind luggage.
A road block obstructs the further course. At the far end, the 3rd (open) VAULT offers a view full of promises: a tempting light at the end of the tunnel. Helas, only via a staircase construction leading to a rat-run path the vistor can bypass the road. The circuit now continues outside, in the DRY MOAT. The path is indicated through the footprints of illegal refugees in the sand, spotted upon arrival by the visitors from up the bridge.
Just in front of this bridge, there is a way back into the TOUR of the fortress. The distant sound of a noisy, crowded western metropolis enhances the illusion of arrival and a hearty welcome. But the panoramic photograph of an asylum (Jorgen Polman, NL) on the entrance wall immediately denies our hospitality.
In the 4th VAULT nothing seems at hand. Merely upon turning back the visitor is alarmed by 2 images of ladies in burka, shopping in the Antwerp town center (Mark Swysen). In the last part of the TOUR the visitor has to make his way through a curtain of burkas. He is confronted with his fear of being flooded with a non-Western invasion.
Finally he stumbles upon the home of this “anxious white citizen”. Shielded behind metal crush barriers a caucasian couple sits in front of their fireplace. With a view on their showcase filled with symbols of our Western culture and richness, fearfully defended. The ancient wallpainting of “der barbar” questions the glory of this exalted culture.
At the end of his journey the visitor enters the OLD KITCHEN / BAR. Tall human effigees (Mark Swysen) express their personal opinion on the matter, a mixture of competing viewpoints. Extreme hard or empathic solutions are suggested together with more moderate stands. Each person is entitled to his private way out of this labyrinth of opinions.
On the INNER COURTYARD a couple of beach-chairs awaiten the visitor: he can return to his “holiday as usual”. Or not? There is the disturbing presence of hundreds of little feet, all marching towards the same few inviting chairs. On the ROOF white flaggs blow away the tight national boundaries, contrasting sharply with the immense walls of the fortress.
At last, upon returning his audio-guide at the RECEPTION DESK, the spectator is invited to deposit his private point of view “pro” or “contra” in a sealed ballot box. After closure of the exhibition these votes will be counted.
