Forensics of Attraction
Lars Cuzner and Fadlabi’s project “Forensics of Attraction” at the 2013 Bergen Assembly represents a critical examination of the phenomenon of “human zoos” and the commodification of cultural otherness. This collaborative work was part of their ongoing project “European Attraction Limited” (2010-2014), which investigates historical instances of human exhibitions, particularly focusing on the 1914 World Fair in Oslo.
Conceptual Framework
The artists employed a “conspirative narrative” approach to expose the mechanisms of spectacle and viewer complicity in the context of cultural exploitation. Their work at the Bergen Assembly was situated within the “Institute of Imaginary States,” one of the fictitious research institutes that structured the exhibition. This conceptual framing allowed Cuzner and Fadlabi to explore the intersection of art, anthropology, and postcolonial discourse.
Methodology and Execution
As part of their research process, Cuzner and Fadlabi undertook what they described as a “pointless trip to Thailand” to investigate contemporary manifestations of human zoos. Their focus on the Paduang (Kayan) women, who have been displaced to tourist-oriented ethnic villages since the 1980s, drew parallels between historical human exhibitions and present-day cultural tourism. This approach underscored the persistence of exploitative practices in the guise of cultural exchange or preservation.
Critical Reception and Impact
The project generated diverse reactions, ranging from praise for its critical importance to accusations of pointlessness. This spectrum of responses highlights the controversial nature of the work and its success in provoking dialogue about the ethics of cultural representation and the legacy of colonial exhibitions.
Theoretical Implications
“Forensics of Attraction” can be situated within the broader context of postcolonial art practices that seek to deconstruct and critique historical narratives of cultural display. By focusing on both historical and contemporary examples of human zoos, Cuzner and Fadlabi’s work interrogates the continuity of exploitative practices and the complicity of viewers in perpetuating these systems.
In conclusion, Cuzner and Fadlabi’s project at the 2013 Bergen Assembly represents a significant contribution to the discourse on cultural representation, spectacle, and the ethics of display. By employing innovative research methodologies and presentation strategies, the artists effectively challenged viewers to confront the complex legacy of human exhibitions and their contemporary manifestations.
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