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The site-specific wall painting is a montage containing elements of the fence between Serbia and Hungary built against to keep migrants outside of the “home’ of the nation. It is partly covered by plants and weeds by now. For killing time, the guards in charge fabricated different objects, and figures resembling totems in order to terrify migrants. These crafts, resembling African masks and scarecrows, are sickening and silly at the same time. One of the objects is a portable high stand for hunters, another fence-craft is a message to a loved one, a text “Mother-kitty” woven into the fence by dry leaves to be read from the other side. The guards do nothing else than just repeat and exaggerate the sentiments towards migrants articulated by the official Hungarian propaganda. The spectacle is as absurd as infantile, and as such is quite fearsome. The “decorated” fence became the unconscious folk monument of self-contained frustration, and exclusionary understanding od nationhood; the visual demonstration of hatred stirred by the new nationalist rhetoric expressed in tribal forms.

The wall painting shows the montage of the fence almost in its original size and from the view points of the “out-groups”, the migrants and refugees, thus the visitor is forced to share their perspective and sensations.

Mother-kitty, 2017, wall painting, 310x990 cm, acryl