Source: Göteborg International Biennial for Contemporary Art
On the fence that surrounds Västlänken’s construction project on Packhusplatsen, works by the Ghanaian artist Ibrahim Mahama are currently on display.
The photographs on the fence show tattoos from people who worked with the artist Ibrahim Mahama in various contexts around Ghana. The arms are visible against the background of old maps of historically important cities and places in the country. Some of the photographs are taken in front of leather seats from the Gold Coast Railway system that was built during the colonial era.
Ghana’s colonial history has meant that large ethnic groups have been driven out of the lands that previously provided for them. Since many people in rural Ghana do not have identity documents, it is common to tattoo their last name and place of birth on the body instead. Many of those photographed by Mahama have moved from the countryside to port cities such as Tema and Accra to look for work. Working conditions are harsh and risky. Tattoos are often the only way to identify people who have been injured or died at work.
The installation at Packhusplatsen is a reminder of how colonial structures still operate through global inequality linked to working conditions, the economy and migration.
The warehouse site was formerly called the French site and was entered into in 1784 as part of a trade agreement between France and Sweden, through which Sweden took over colonial rule over the Caribbean island of Saint Barthélemy. The island was a hub for the transatlantic slave trade between West Africa and the Caribbean until 1847. In 1878 the island was sold back to France.
The installation is the second work of art presented on the fence with connections to the history of the French site. This is done in collaboration between the Gothenburg International Art Biennale (GIBCA) and the Swedish Transport Administration.
