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Traces, 2015


Belaid Baylal was from Morocco. Because he fought with other workers during a strike for more rights in Morocco, he was imprisoned in 1980 and tortured. In 1991 he applied for asylum in Germany and came to in Bad Belzig (Brandenburg). On May 8, 1993 Baylal and four friends from the refugee center in Bad Belzig went to a pub. There they met two young adults, who claimed „not to like foreigners“. The two right-wing men pulled Baylal off the chair. While one was holding him, the other hit and kicked into his stomach. Baylal suffered severe internal injuries. In the following years he had to go to the hospital repeatedly because of possible intestial obstractions. He was in pain and increasingly lonely. Seven years after the incident, he died on 3 November 2000 at multi-organ failure, a late consequence of the attack. Belaid Baylal was 42 year old. He is buried in Morocco. Up until June 2015 he had not been officially acknowledged as victim of racist extremism in Germany.

With historic VHS-camera from the early 90s I want to go on a filmic expedition, starting in Bad Belzig, Germany, where Belaid Baylal was living while seeking political asylum in Germany, and where he died. I will film 60 min with impressions from that small German town. In Morocco I will cover up the tape with pictures I am filming in Morocco. I will search for images that correspond with the feeling I got after studying Belaids life, as well as seeing the two places in the world that where important for his fate. I want to interlace the images someone living in these two countries in the 80s and 90s could have had. I am taking away the horror that Belaid Baylal experienced, the torture in the maroccan prison as well as the attack in the german pub: I am focussing on the architecture, the nature, the small details of everyday‘s life. Through Belaid Baylal‘s life story these places and images become haunting, reminding us of the unfairness of life taken, as well as the injustices happening right now ​towards asylum seekers in ,Fortress Europe‘.

Henrike Naumann, Traces, 2015, video stills
Henrike Naumann, Traces, 2015, video stills
Henrike Naumann, Traces, 2015, video stills
Henrike Naumann, Traces, 2015, video stills

Henrike Naumann

Henrike Naumann was born 1984 in Zwickau (GDR). Growing up in Eastern Germany, Naumann experienced extreme-right ideology as a predominant youth culture in the 90s. Her work reflects on the history of the right-wing terrorism in Germany as well as on today‘s broad acceptance of racist ideas. She looks at the mechanisms of radicalization and how they are linked to personal experience and youth culture. Naumann explores the friction of contrary political opinion through the ambivalence of personal aesthetic taste. In her immersive installations she combines video and sound with scenographic spaces. In recent years she widened her focus to the global connectivity of youth cultures and the reversion of cultural othering. Notable exhibitions include solo shows at the Belvedere 21 in Vienna, Kunsthaus Dahlem in Berlin, Museum Abteiberg in Mönchengladbach and Galerie Wedding, Berlin, as well as participations at the Busan Biennale (2018), Riga Biennial (2018), Steirischer Herbst, Graz (2018), 4th Ghetto Biennale at Port-Au-Prince (2015), and the 3rd Herbstsalon at Maxim Gorki Theatre Berlin (2017).

Henrike Naumann lives and works in Berlin.

Full Biography