TEYRAWANIN / PERSPECTIVE
Is interpretation of the stories from a group of fellow refugees from di erent regions. The sculpture evokes the image of a large bird, such as an eagle, pausing somewhere in a high place, recovering and collecting strength while reflecting on scenarios for survival. The sculpture articulates their bravery and intelligence.
In 2022 it is 450 years ago that William the Silent, Prince of Orange, (1533 - 1584) fled to Delft, in search of a safe haven. For the Museum Prinsenhof Delft, this is a reason to direct its Delft perspective to the subject of security. What does security mean to the people of Delft, like refugees, descendants of colonialism in the Caribbean, students and young people? To answer this question, the artist Hozan Zangana engaged in dialogue with members of these communities. Inspired by their stories, opinions and experiences, he created the sculpture series MALAWA.
MALAWA, HOME in Kurdish, suggests the universal basic need for safety; a state of being that provides a secure foundation from which to grow and build a life. When the home and everything that provided structure to life is left behind and nothing but insecurity awaits, bodies, at their most vulnerable, become a substitute for what a home provides. The MALAWA sculptures express such bodies, in materials that refer to a life on the move, such as jute, blankets and tent cloth. Together they express the state of anguish of bodies trapped in an unstable situation between past and future, trying to provide each other comfort.
Met speciale dank aan | With special thanks to: Wahhab Hassoo, Stef Bakker, Jeroen van Erp, Hiromi Watanabe, Arno Hoogland, Giwion Lopez, Niloufar Ashtiani, Aryana and Dylan Zangana, Bloomberry, and those who wish to remain anonymous.
Texts: Mo Veld
Photography: Erik and Petra Hesmerg
Project lead The Delft Perspective: Jemma Land
Commissions by Museum Prinsenhof Delft
TEYRAWANIN / PERSPECTIVE
TEYRAWANIN / PERSPECTIVE
Is interpretation of the stories from a group of fellow refugees from di erent regions. The sculpture evokes the image of a large bird, such as an eagle, pausing somewhere in a high place, recovering and collecting strength while reflecting on scenarios for survival. The sculpture articulates their bravery and intelligence.
NANKIM / GRANDMOTHER
NANKIM honours the powerful role of elder women in societies as narrated by members of the Descendants of Colonialism in the Caribbean in Delft. Grandmothers, with all their life experience and wisdom, are the pillars of families and small communities. They lovingly provide guidance to younger generations drawing from hard earned self-respect, the fruit of a life full of hardship and injustice in the shadows of colonialism.
NANKIM / GRANDMOTHER
NANKIM / GRANDMOTHER
NANKIM honours the powerful role of elder women in societies as narrated by members of the Descendants of Colonialism in the Caribbean in Delft. Grandmothers, with all their life experience and wisdom, are the pillars of families and small communities. They lovingly provide guidance to younger generations drawing from hard earned self-respect, the fruit of a life full of hardship and injustice in the shadows of colonialism.
MALAWA / CAREGIVER STANDING
MALAWA / CAREGIVER STANDING
Is the caregiver protecting the family from outside danger? Or does danger exist within the family? Is it watching over the family or dominating over the others?
MALAWA / CAREGIVER STANDING
Is the caregiver protecting the family from outside danger? Or does danger exist within the family? Is it watching over the family or dominating over the others?
MALAWA / BIRTH
MALAWA / BIRTH
Is a child safe within the womb, if the mother is experiencing distress? Or is it most safe during that precious time attached to the umbilical cord before the first breath, between the mother’s legs, not yet exposed to the sometimes terrifying outside world?
MALAWA / CAREGIVER & CHILD
Is the caregiver comforting the child or is it the child comforting the caregiver? Is the caregiver awake or asleep? Is it a warm embrace or a distant touch?
MALAWA / CAREGIVER & CHILD
Is the caregiver comforting the child or is it the child comforting the caregiver? Is the caregiver awake or asleep? Is it a warm embrace or a distant touch?
LEJAR FISHAR / UNDER PRESSURE
This sculpture translates the feeling of insecurity of an important part of the Delft society: university students. Their fears stem from the constant pressure they experience from high expectations, from parents, peers, and from themselves. The image is of a casting mold they are expected to fit into, a mold that does not allow space for individual needs and secretly held dreams and ambitions.
LEJAR FISHAR / UNDER PRESSURE
LEJAR FISHAR / UNDER PRESSURE
LEJAR FISHAR / UNDER PRESSURE
XAUN / DREAM
Originated from conversations with youths who find support at the social-cultural institution Can I Dream, a safe space between school and home that helps young people develop their talents during adolescence, a vulnerable time in their life. The sculpture evokes the image of a lap, referring to the laps of parents or caregivers, that gentle and patient springboard for a child's growth.
XAUN / DREAM
XAUN / DREAM
Originated from conversations with youths who find support at the social-cultural institution Can I Dream, a safe space between school and home that helps young people develop their talents during adolescence, a vulnerable time in their life. The sculpture evokes the image of a lap, referring to the laps of parents or caregivers, that gentle and patient springboard for a child's growth.