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我记得母亲曾经带我们去伦敦的大英博物馆

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她一家从伊拉克来

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一到博物馆 她就把我们带到亚述展厅

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带到那个藏有猎狮图的展室里

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对于一个十岁的小孩来说 见识到世界上第一部漫画书
并且它出于自己民族的人民之手

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没有什么比这更酷了

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她转过来对我们说

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它怎么会在这里？

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于是我们敏感地意识到

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这些博物馆不只是圣物箱

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安放着不同文化之间互换的物品

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这些物品是用暴力掠夺来的

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这是个博物馆 也是个罪恶的宫殿

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迈克尔拉科韦兹：

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美国入侵伊拉克后

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伊拉克国家博物馆超过八千件文物被劫掠而去

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我开始思考 如果这些文物的魂魄归来

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在西方博物馆里旧旧不散
会是什么样子的

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不幸的是 这个项目逐渐扩大

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一些被伊斯兰国摧毁的考古遗迹也已收入其中

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宫殿于2015年被摧毁

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当时殿内有两百座浮雕

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但其实原本有六百多座

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十九世纪中期 大部分浮雕被掘出

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送往不同的西方机构

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西方为这些来自伊拉克的物品评定价值

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但这种评定又怎么可能如实反映价值呢？

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它们故地的人民都已经被贬低鄙视了

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浮雕根据建筑原来的布局放置

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项目的宗旨是使观者代入伊拉克人的视角

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使他们置身被伊斯兰国毁灭前夕的宫殿

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使他们意识到先前所知历史的局限

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看到不能再视而不见的历史空白

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由于中东民族主义兴起

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我母亲一家在1947年离开伊拉克

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当时巴格达犹太人处于绝境之中

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来到美国之后 又面临种种同化的压力

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但他们没有选择彻底抛弃过去

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我的外祖父母算是我最早认识的装置艺术家

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他们的房子在长岛大颈区

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地板上的东西都是伊拉克的

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墙上的东西都是伊拉克的-

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从厨房里端出来的东西无一例外
都是伊拉克的

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我高三那一年

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我和兄弟们看着海湾战争打响

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母亲对我们说

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你们知道吗 纽约一家伊拉克餐厅也没有

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她想说的是 
在美国 伊拉克文化只有石油和战争

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第二次海湾战争逼近

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我开创了一个项目 可以和母亲一起合作

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那个项目就是“敌人厨房”

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母亲对外分发我们家的菜谱

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我和不同的人们一起下厨

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戳一个小坑

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拿一点肉

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放到中间

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那时候谈起伊拉克 人们只会谈战争

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“敌人厨房”是一种的反抗

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我常常说起2006年
我和一群学生合作的那一次

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学校禁止老师

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在课堂上直接谈论战争

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因为很多学生的兄弟、叔舅、父母

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驻扎在伊拉克

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从来没有人想到过听听他们对战争的想法

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这是在是太残酷了

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现在“敌人厨房”成了一辆餐车
主厨都是伊拉克人

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副主厨和服务员是从伊拉克归来的

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退役军人

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故事现在流动起来了

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我们工作室选择的配色方案

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可以说是回归身体原本的颜色

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你可以看到一系列不同的材料

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茴香茶袋砌成淡黄色的调色板
构成阿普卡鲁的外衣

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这是我最喜欢的颜色之一

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这是我成长记忆中的橙色

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杏子酱包装的颜色

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有点像原味水果软糖卷

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如果真的要闹鬼的话

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制作这些浮雕使用了中东食材的包装

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