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The Other Side of Hospitality: Migratory Aesthetics in Yael Bartana’s True Finn

My paper examines Mieke Bal’s concept of migratory aesthetics through the prism of hospitality. Critical of academic and institutional tendencies that either deny particularism or pin agents and artefacts to their alleged context, Bal develops her concept as a way of accommodating contemporary mobility without undermining cultural specificity. While arguing that “there is no such thing as site-unspecific art”, Bal is also critical of new historicism’s and traditional art history’s overemphasis on “provenance”, and underscores the political ramifications of this approach. Her critique can be read through the framework of hospitality. The notion of “provenance” frames the guest as the other and limits her ability to participate in the host’s culture. Hospitality, however, as Jacques Derrida maintains, is an ambivalent concept. While extending a friendly welcome, it also preserves hierarchy between the host and the guest. In my paper, I examine this other side of hospitality in Yael Bartana’s film True Finn (2014) and in Lost in Space (2005) of Mieke Bal and Shahram Entekhabi. I explore how these films organise the host/guest relation and how they deal with the political entanglement of hospitality.