August 12, 2019 § 5 Comments
Sonia Boué explains her new project: to create a tribute in 2020 for the Convoy of 927
I have been lucky enough to be invited to join www.appletye.org Paper Trail project:
“100 pieces of heritage paper spanning over 100 years, given to 100 artists to create a piece of work.
Each piece of paper represents a year. We have invited the artists to create a work in response to something that happened during that year.
The paper must be used in the creation of the work. It can be printed, painted, written word, pulped, re-created, sculpted, folded, cut, collaged etc”
As the founding artists of appletye, Dawn Cole and Dan Thompson, know my practice well they have chosen the perfect Paper Trail year for me. I’ve been given paper 16 from 1940 made at Hayle Mill, weighing 150gsm (hot pressed). The sample sent to me is approximately 10 x 7 cms.
The subject of my family’s evasion of a Nazi roundup of Spanish republican exiles at Anguoulême on August 20th, 1940, to the Mauthausen camp, continues to be the focus as I build my Paper Trail response, and it’s suddenly gone from a tiny sketch (inkjet print on tracing paper which I’ve clipped to the 1940 paper sample) to an ambitious project, which I’d like to realise in 2020 as an act of remembrance. So I’m already looking for gallery space!
This new work is entitled ‘Convoy’, because the roundup has become known as El convoy de los 927 (927 being the number of Spanish exiles herded into cattle wagons that day). Almost overnight the tiny sketch evolved into a big idea with unexpected mathematical underpinnings. Through this exploration I’ve become enthralled by the idea that a number (repeated) becomes a pattern, and that this can in an immediate and powerfully visual way tell us something about the inability to ‘see’ dehumanisation in the face of number.
What you are looking at in my tiny sketch are three members of my family, my grandmother, grandfather and great-grandmother, more accurately a photograph of them. It was taken in 1939, and sent to my father (most probably to reassure him in his exile in England that they – in their exile in France – were okay). By August 1940 they had somehow ‘faced down’ a second genocidal threat (the first being their evacuation from Barcelona in February 1939). By 1941 they had made their way safely back to Spain. My father remained in England.
What I’ve done is to imagine their alternate fate with a red mirror portrait, which has created a square-shaped image. I’ve multiplied it repeatedly, et voila, together with the small size of my print (10 x 7 cms to match the Paper Trail sample), you can’t immediately see that the image is made up of faces. What you see is pattern.
How my family knew, and what they knew remains unknown. Who told them of the danger and who they then told (if anyone) is probably unknowable. A fragment of oral testimony mentions a friend, but this is vague and quite elusive information narrated almost 80 years on by my mother who is now 92. She goes on to say that they returned from their place of hiding (a forest) to find “the Germans had cleared the place.”
As the pattern builds the orientation turns to reveal the possibility of an alternate destiny in which historians would refer to El convoy de los 930.
As I tentatively made my way into this work I chose red to symbolise the bloodshed and for the association with communism. Spanish exiles were targeted as ‘Rojos’ whether they were communists or not.
I quickly realised that my use of the square in a square formation was problematic, also that in using 6 faces I could never aspire to creating a piece of work which would represent the 927 Spanish exiles. In any event I wanted to work with 930 to include the 3 who, as my son remarked, “got away.” I am sure they were not alone in this, but Convoy is about a very personal response, and perhaps even the expiation of survivor guilt. This feels to me like an act of both memory and solidarity.
In overshooting the mark to create 1536 faces, I began to dial back to work out how to make my 6 faces become 930, and what shape they could form.
In working this out I have arrived at my plan, to create 155 squares (10 x 10 cms). The formation will be 5 rows of 31 squares, measuring 50 cms by 3.1 meters. I now need to find a space which will take me and my tribute (probably rendered on photographic paper on whatever kind of support works best with the gallery space in question).
There may be other versions and/or further sketches but I feel my concept is whole. I have never experienced inspiration like this (based on pattern and number) and this is a whole new way of working for me, though my commitment to the history I’m working with feels the same and I’m determined to see this important tribute come to pass. There is something quite compelling about the form I have chosen.
There is much more to say about El convoy de los 927 and I will blog about it as I make my way.
Meanwhile if you know of a venue which would welcome this work in 2020 please do let me know!
March 17, 2019 § 6 Comments
I’m a little in love with this picture. It features one element of my new installation, which I’m about to show as part of a large group exhibition called Neither Use Nor Ornament or NUNO for short.
My work is called Conversation and it features an audio piece with an excerpt from my play Playa y Toro, (2014)
A bit like a Russian doll, my play contains a play, and it also combines characters and action from my father’s play Tierra Cautiva, which was written in about 1951, with characters from my art blog Barcelona in a Bag. The typewriter you see in the picture is the exact model he used to write his play. Those who follow my work will know that my father was exiled from Spain in 1939 when Franco’s Fascist forces defeated the democratically elected government. 2019 sees the 80th anniversary of the tragic events in which nearly half a million Spaniards fled for their lives across the border to France. My father’s early plays were a response to the continuing dictatorship and the beginnings of the tourist boom.
Since 2013 I’ve been working with my family’s involvement in the Spanish Civil War as a postmemory project. Postmemory in my case meaning that I grew up with an unspoken, yet inherited trauma. The Spanish Civil War was not my own first hand experience, but I lived with all the consequences of it, and it’s effects on my family, which were significant.
I’ve been aware that on a professional level I should be producing work in this year to mark the terrible events of 1939, and yet I’ve fallen largely silent, just when I might be expected to be most vocal. In part NUNO has taken a great deal of my time, but more truthfully I’ve felt emotionally overwhelmed.
For many of my 5-6 years of professional practice dedicated to this work, I’ve attempted to address the silencing of this history in some quarters, and the lack of awareness in others. This year I can’t complain of that. There is a tidal wave of material which is at last coming to light, and I predict swathes of responses to it in years to come. I’m delighted, but I’m also rendered mute.
I’ve had to think through why my response is one of flight.
Working with traumatic memory has consequences, and I’ve often been aware of the need to pace myself over the years. You can’t work close up with this material and not be affected. What I’ve learned in this anniversary year is that it’s incredibly hard when such a tidal wave hits your online networks. I finally realised this when a friend sent me a video the other day which I just couldn’t open. Earlier in February I wept at 6am, as I logged onto FaceBook with my morning coffee and viewed footage of countless Republican Spaniards streaming towards the border. That was my family, my dearest ones. I can’t help myself, I scan the screen searching for them. It’s quite terrible. Any such footage, photographs or mentions have this effect. I relive this moment of flight in my mind, and the deeply painful truths that were hedged as my family gave my sister and I golden summers on the beaches of Barcelona.
I think it’s the type and volume of information which appears randomly at any time of the day which makes me recoil. I spend a lot of time online. Exposure can happen when least expected. When I’m on a specific Spanish Civil War project and researching, I’m in control of the flow. Probably that’s the difference.
So I’ve been working quietly, and am so very grateful to my NUNO group – there’s a sense of safety in numbers and my work nestles within the collective showing to the public. My piece is gentle, but it does probe at the trauma site.
I’ve called this blog Back where I belong, because in the last 24 hours I’ve reconnected with a font of inspiration for my play – a series of recordings made by Federico García Lorca of Canciones Populares Antiguas. They recall a period of intense studio practice in which I was truly connected to this unspoken family history and surround by ghosts. Project management has in many ways disconnected me from this, but on hearing the music on my iPod I’m transported back there.
I’m also back where I belong in terms of my identity, in at last regaining my Spanish nationality. This feels like a pretty spectacular year to have done so.
Once more thank you so much Arts Council England, your funding of my work for NUNO has been a profound award in so many ways.
October 2, 2017 § 7 Comments
I am not Catalan but I feel the recent events in Spain very deeply. I am an Anglo-British daughter of a Spanish Republican exile born in Madrid. My grandfather was from Galicia and my grandmother from Southern Spain, but they returned from their exile in France in 1941 to live in Barcelona. This place was my home from home as I grew up. Barcelona was my long Summers’ idyl, the city of all my high days and holidays, and my absolute love.
I have written often in my art blog about the long erasure of the Spanish exiles from the history books of Spain, and how my father and my grandparents never spoke of their internment in the French camps of Argelès sur Mer and Barcarès. I didn’t know or question why I lived in two places, or why my grandmother wept so bitterly in her kitchen each time we returned to England.
This is what violent political repression does – it silences you. Not just in the streets with batons. No. The erasure of memory and the taping of tongues creeps deeply into the everyday fabric of our lives. In many ways the invisible brutality of a dictatorship is at the heart of my recent cycle of paintings called simply, Buenos Días Dictador.
The dictator is everywhere and nowhere. The dictator follows you wherever you go.
The Catalan question itself is too complex for me to write about. I am an artist, not a historian or political analyst. But I know about living with exile. I know about suppression. And I know what’s more that these wounds run so deep in Spain that even 81 years on from the start of that Civil War it is hard to talk about Spain. Mine is a postmemory experience. My contact with the history is indirect, but my fear is present and real.
I have changed my social media settings to share this blog post.
The Catalan question can be hard to grasp, but you can recognise state suppression when you see it. All the hallmarks are there – and it’s impossible to argue with the statement by Barcelona’s mayor Ada Colau. A line has been crossed and Rajoy is not fit to serve. Like so many bullies before him he is a coward, one who has set armed police against an unarmed citizenry.
There have been many opportunities to negotiate, which is what democracies are made for. Democracy is talking. Democracy can never be throwing citizens around like rag dolls, breaking their fingers, kicking and batting them with truncheons. Someone has died I believe, and more than 800 injured.
Most sickeningly there have been statements by Rajoy and his deputy claiming a proportionate response. But, no. This is not ‘normal’ or right.
With my art practice I witness. It’s all I can do.
June 15, 2017 § Leave a comment
¡Buenos Días Dictador!
Eight new postmemory paintings by Sonia Boué
Sonia Boué is an Anglo-Spanish multiform artist. Her practice is concerned with a legacy of exile, leading to a growing body of work which relates to the Spanish Civil War, 1936-1939.
In 2015 she was recognised by researchers at Tate Britain as a singular voice responding to this history within a British context. Subsequently Sonia featured in a film made by Tate Britain entitled, Felicia Browne: Unofficial War Artist, and in 2016 she received an Arts Council grant for Through An Artist’s Eye, a collaborative project about the life and work of Felicia Browne (who was the only British female combatant and the first British volunteer to die in action in the Civil War).
“Since 2013, my work has centred on a buried family history relating to the Spanish Civil War.
My childhood and adolescence spanned the final decade and half of the Franco dictatorship, yet the Civil War was never mentioned. This history was silenced for almost 40 years, and subject to a “pact of forgetting” when democracy was negotiated in Spain, following Franco’s death in 1975.
Unbeknownst to me Spain had been navigating an open wound.
My father and my grandparents had been involuntarily separated in 1939, and my father remained exiled in England until his death in 1989.
My practice is now concerned with this inherited memory and the need to confront this history through my work.”
About Buenos Días Dictador
Sonia Boué has created a series of new works about growing up with the invisible shadow of dictatorship. In them she explores the the duality of her childhood, drawing on an immersive painting practice. Through it (and the other branches of her multiform work) Sonia seeks to recover aspects of historic memory (memoria histórica), previously erased by political suppression.
With Buenos Días Dictador, Boué’s previous focus on the narrative histories of the Retirada (Republican retreat from Spain), and British involvement in the Civil War, has shifted to her own memory sites – the return journeys to Spain from England in the 1960s and 1970s.
Her painted responses are conjured scenes (dreamscapes) in which collaged figures plot an upbringing spent shuttling between Birmingham and Barcelona to visit her grandparents. Through these works she examines the fabric of daily life anew.
“The dictator was everywhere, silently and invisibly setting the preconditions of our lives.”
The spirit of these works is nostalgic yet confrontational, employing a juxtaposition of painted and collaged elements as a means of articulating the unspoken. Buenos Días Dictador, forms a visual essay which tweaks at the invisibility cloak of Franco’s rule to ask a serious question; how can we live the life domestic in the face of violent rupture, exile and dictatorship?
In these enigmatic new works the dictator is everywhere and yet nowhere to be seen. Cut-out figures from the period (borrowed from sewing pattern illustrations) are transplanted to imprecise geographical locations. Buenos Días Dictador, is a series of haunting dreamscapes conjuring a surreal and dissonant atmosphere.
Please share with colleagues and organisations where the visual arts, and subjects of Spanish Civil War, postmemory, displacement, and exile are of interest.
Contact Sonia for artist talks, conference papers and performances.
These works are also available for exhibition (8/ 50 x60 cms mixed media on linen).
December 11, 2015 § Leave a comment
Here is a short (less than 2 minutes) video with my take on the backbone to my creative practice; the concept of postmemory. First developed to describe the transmitted trauma to the children of holocaust survivors, this term is incredibly meaningful in anchoring my own experience of living with my father’s traumatic lifelong exile from Spain.
The video says it all.