Një vend përtej besimit
Nathan Coley (born 1967 in Glasgow, Scotland) is a contemporary British artist who was shortlisted for the Turner Prize in 2007. He studied Fine Art at Glasgow School of Art between 1985 and 1989 and currently works in Glasgow. Coley’s work is predominantly concerned with the way in which architecture reflects and conditions the social environment. “A Place beyond Belief” – four words stacked on three lines: indefinite article + noun / preposition / noun. The text is not a complete sentence, it has no verb, no punctuation, and it is written entirely in sans-serif capitals. As with the other works in the series, fairground lights describe the letters in lines and arcs.
“A young woman sits in a New York subway carriage, a number of days after the terrorist attacks on the twin towers. It is early morning, and the city is grudgingly back at work. Like many of her fellow passengers, she is tired, emotionally fragile, confused and angry – still trying to come to terms with what has happened to her city.
A Sikh man sits opposite her, wearing a bright orange turban. There is a strong tangible sense of hatred from the passengers towards the man – a feeling of raw anger and disgust. The mans eyes are averted, the commuters stares un-replied. His head is bowed, he is sobbing.
The train travels on, stopping at the next station, the doors open and close, passengers get on and off. After a few stops and more torturous minutes, the man gathers his belongings and gets up to leave. Standing by the exit is a young black woman with a newly born baby. As the man approaches, he reaches into his pockets and takes out a handful of dollars. Without saying anything, he shoved the money into the folds of the baby’s clothes and exits the train. The doors close, and the remaining passengers burst into tears.
At that moment, the woman realises that for New York to get past the attack, to move on and rebuild itself, it has to think anew, it has to look again. It has to get to a place beyond belief.”