In collaboration with Mirjam Linschooten
Contemporary Art Gallery, Vancouver. Installation of found objects, museum implements, fluorescent lights and text
Throughout the histories of colonialism and capitalism innumerable cultural objects have entered museum collections around the world detached from the communities and physical bodies they belong to. Ripped from context and trapped behind glass, rearranged and discombobulated, the cultural authenticity, specificity and vitality of these objects are dismembered into taxonomies of otherness.
White, Steel, Slice, Mask considers acts of ethnographic curation within the context of colonialism and late capitalism.. Reflecting tensions between local communities and their representation in museums, Farooq and Linschooten focus on mass produced replicas of cultural artifacts. Display mechanisms such as shelves, hooks and bars are used to disrupt and unsettle the objects, disturbing the meticulous arrangement and suggestive of the uneasy relations between the conserved and custodian, artifact and everyday object, revealing the unintended violence of display.