The Socio-Parasitology Manifesto, curated by Sabrina Mumtaz Hasan and Rayvenn D’Clark. Hosted by Shades of Noir, funded by Bow Arts, supported by University of the Arts London. Exhibited at Nunnery Gallery.
Written by Iman Osman
From the 11th-19th January 2019, The Socio-Parasitology Manifesto took over the Nunnery Gallery in East London, displaying the work of a collection of artists who responded to a manifesto – of the same name – written by Sabrina Mumtaz Hasan.
In short, the manifesto, outlines how by shifting the perception of migration, a more positive and forward-thinking approach towards discussing immigrants in a new hosting environment can emerge in a notion that was being termed ‘positive parasites. Whilst an overwhelming percentage of people voted to ‘Bremain’ in 2016, this was a prominent reflection in the multi-disciplinary representations to responded to the OPEN CALL under the banner of ‘positive socio-parasitology’. Here, Sabrina argues that parasite-host relationships can be used as a symbol for the ‘positive progress’ the totality of the work within the exhibition works to create an overwhelming echoing of this very argumen – portraying a visually, audibly and spatially cogent voice of ‘Bremain’ voters in the post-Brexit era which remains ever strong – we are better, united, and in tangible defiance against the tightening of immigration policies in the West.
Day to day, observing the viewership and reception of this exhibition in which hope felt triumphant, and forward-thinking in regards to the UK’s approach to policy was discussed between the public, friends, exhibiting artists, colleagues and the curator, armed with stubbornness and command of each of their individual, varied practices. As an invigilator for the exhibition and in speaking with Sabrina about the purpose of the show, the selection of artists, the many ways to occupy the space throughout the duration of the exhibition and witnessing how the public interacted with the work, I was very much a spectator, observing the way this show was received by the public. The work itself varied: from video pieces to sound works and installations, the show offered a dynamic range of spatial occupants that arch their way through a small L-shaped layout of the gallery, the exhibition stood bold in an unassuming gallery tucked away in East London. Artists included Catalina Renjifo, Aura Raulo (Biologist), Katie Taylor, Piotr Bockowski, TRY1 (collective), Madeleine Barratt, Samiya Younis, Maria Camila Cepeda, Farrukh Akbar, Mita Vaghela, Sandra Poulson, Moetaz Fathalla and curator, Sabrina Mumtaz Hasan. In terms of public reception, as an invigilator, I was tasked with keeping track of numbers and comments made by visitors to space. While there was certainly a general engagement throughout the week, most visitors ranged from their 20s to 60s, I had to remind myself that families had to be cautious of nudity in some of the video work and take caution in regards to Farrukh Akbar’s rather sinister and uncanny Olympus Arisen which tended to frighten younger viewers.
Amongst the exhibition itself, there were a selection of events within the programme that spread across the week. Starting with the Private View, the opening of the exhibition included discussion of purpose, with performances and a integrated-symposium. Following this, there was a Early-Morning Crrit in which artists discussed the themes raised within their work in response to the manifesto alongside the shows curators and industry experts including a biologist and a social-activist. These additional interventions in the programme further promote the discussion around this new perspective of inclusion in regards of migrants as a means of social change.
Sabrina Mumtaz Hasan – lead curator – spoke on how she plans to expand this chain of thought even stating:
‘The Socio-Parasitology Manifesto Exhibition was , and still is, one of the most important parts of my MA research. […] I formulated a manifesto based on the obliterating language used in current political media against immigration policy, my need to prove the manifesto as a ‘working model’ was through artist[ry] and public engagements. I wanted to test the manifesto as part of my research and act critically towards my own writing. The exhibition has catalysed a series of installation works for group participation as I believe nothing in completed [or] in isolation. I am interested in expanding the broadcasting elements of the piece, and my polemical texts are beyond this point now, where the positive parasite metaphor must move into policy-production.’
Overall, the exhibition was a noble, modern-hub of artistic discipline used to invoke significant messages, welcoming people of all ages and backgrounds into the discussion which touched many corners of London from its quiet position in Bow Road. With the support of the Bow Arts Council and University of the Arts London, these voices are hoisted towards to audiences who have learnt to fear these kinds of conversations. Hasan and D’Clark – who act as a perfect example of how two minds are better than one – have opened up the topic and worked to de-stigmatise migration debates and the value of foreign populations in native countries. It was a delight to watch these two young women host such an inspired exhibition and reinforce their commitment to the manifesto by hosting and coordinating numerous events and talks to ensure the show was understood, considered, evaluated and learnt from all show participants.
A refreshing success with challenging pieces, the Socio-Parasitology Manifesto proves how the generation of immigrant children see the union between their country of upbringing and their parent’s home country. The result is a collection of individuals who exist in both worlds, resulting in well-rounded navigation of the modern world.
