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Sjećam se kako nas je majka
dovela u Britanski muzej u Londonu.

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Majčina je obitelj bila iz Iraka.

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Odmah nas je odvela u asirske galerije

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i u dvoranu s reljefom
„Lov na lavove kralja Asurbanipala”.

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Nema ništa zanimljivije kao kad
s deset godina otkrijete prvi strip

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i saznate da ga je vaš narod izradio.

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Okrenula se prema nama
i pitala nas: „A što to radi ovdje?”

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Tad smo snažno
osvijestili činjenicu

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da ti muzeji nisu samo ti
pristojni relikvijari za predmete

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koji se razmjenjuju među kulturama,

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nego da su ti predmeti nasilno oduzeti.

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Bio je to muzej, ali i palača zločina.

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[Michael Rakowitz: Proganjanje Zapada]

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„Nevidljivi neprijatelj
ne bi trebao postojati”

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djelo je koje sam počeo raditi 2006.

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U razdoblju nakon
američke invazije na Irak

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više od 8 000 rukotvorina
ukradeno je iz Iračkog nacionalnog muzeja.

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Počeo sam razmišljati što bi
za te rukotvorine značilo

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da se vrate kao duhovi
i opsjedaju muzeje na Zapadu.

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U ovaj su projekt, nažalost,
uključena i arheološka nalazišta

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koja su devastirale
skupine kao što je ISIS.

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Ovo je instalacija „Dvorana F”
u sjeverozapadnoj palači Nimruda.

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Kada je uništena 2015.,
u njoj je bilo dvjesto reljefa.

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No prvotno je u njoj bilo njih 600.

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Većina njih iskopana je sredinom 1800-ih

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i zatim odaslana
u različite ustanove na Zapadu.

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Zapad pripisuje vrijednost
umjetninama iz tog dijela svijeta,

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no ne postoji nikakva simetrija
kad u obzir uzmete način

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na koji se obezvrjeđuju
narodi iz tih krajeva.

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Reljefi su postavljeni
prema prvotnom arhitektonskom otisku.

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Ovim se projektom posjetitelja
želi staviti u položaj Iračana

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u toj palači jedan dan prije
nego što ju je ISIS razorio.

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I pokazati kolikom dijelu povijesti
nisu imali pristup kao i praznine

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u i kroz koje su bili prisiljeni gledati.

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