Dislocations: Participatory Media with Refugees in Malta and Ireland

Malta is located in the Mediterranean Sea between North Africa and Europe, a receiving country for significant inward migration. For most migrants the goal is to reach mainland Europe. However, every year a significant number of smuggler boats inadvertently drift into Maltese territorial waters often in severe distress, resulting in rescue by the Maltese Navy and an uncertain future. Whilst working in Malta I was struck by the similarities between Ireland and Malta. Both islands’ are peripheral locations on the western and southern edges of Europe. Historically both countries have experienced significant outward migration of its citizens who live all over the world. There are more Maltese and Irish people living outside their respective islands’ than in each country itself. Citizens from both countries have experienced other cultures either directly or indirectly through their diasporic family networks. But for the first time both communities are facing the challenge of living in close proximity to the newcomers. In this chapter I describe and critically frame several strategies and collaborative working methods adopted with migrant co-collaborators in Malta and Ireland to engage with host country citizens. From the beginning of each project I consider my co-collaborators as agents of change, not as passive victims. The production of cultural artefacts is viewed as living and contingent. Participation is central to this process, beginning with periods of intensive engagement with refugees in Malta, and asylum seekers, refugees and migrant workers in Ireland. Audiences are also considered to be participants when they engage with completed projects in various public contexts both inside and outside of museum and gallery settings

On the Factory’s Ruins: The Death of a Nation and the Birth of a Museum

Stuart Hall describes ‘living archives’ as a field of […] rupture, significant breaks, transformations, new and unpredicted departures’. For an artist, the interpretation of archival and historical materials is not solely an academic exercise; it can also be viewed as a societal intervention, where historical narratives are ruptured and re-contextualised, generating an emerging critical and contested site of reinterpretation. In this article I discuss my work as an artist and researcher with particular emphasis on cultural memory, archival formations and the production of contemporary artworks, including my recent video installation, UNresolved which reflects on the twentieth anniversary of genocide in Srebrenica

Contemporary Art and Transitional Justice in Northern Ireland: The Consolation of Form

Abstract Contemporary artworks in Northern Ireland are explored here as critical constellations, in Walter Benjamin’s sense, that engage the cultural processes of transition through their problematisation of it. It is argued that the artworks become sites in which the assumptions of transition are opened up for critical reflection, requesting attention to the foreclosing of the meanings of memory, of past-and-future, of community. A mode of critical questioning of the present renders the present problematic not in terms of exclusions nor with reference to a past that cannot or will not be erased, but in terms of the present’s inability to be conceived through a linear conception of time. That is, the past and its relation to both the present and to the future are set in oscillation as artworks explore the complex temporalities of a present self-consciously attempting to narrate itself away from the past. The artworks, ‘without the bigotry of conviction’ as Seamus Deane put it, suggest that the task of dealing with the past is flawed wherever the past is conceived as a history that can be rendered present to be judged by subjects who are thereby placed beyond it. That is the illusion of a present ‘no-time’ that dovetails with the desires of commercial enterprise and neo-liberal conceptions of freedom. If this suggests an unceasing restlessness, the consolation is that this questioning does take a form, not as judgement or political decision but as artworks which by definition, remain open to reinterpretation and new understandings. These issues are discussed with reference to the work of four artists in Northern Ireland: the paintings of Rita Duffy, the photography and installation work of Anthony Haughey, and the sculptural works of Philip Napier and Mike Hogg

Mandibular reconstruction with vascularised bone flaps: a systematic review over 25 years

To explore the techniques for mandibular reconstruction with composite free flaps and their outcomes, we systematically reviewed reports published between 1990 and 2015. A total of 9499 mandibular defects were reconstructed with 6178 fibular, 1380 iliac crest, 1127 composite radial, 709 scapular, 63 serratus anterior and rib, 32 metatarsal, and 10 lateral arm flaps including humerus. The failure rate was higher for the iliac crest (6.2%, 66/1059) than for fibular, radial, and scapular flaps combined (3.4%, 202/6018) (p<0.001). We evaluated rates of osteotomy, non-union, and fistulas. Implant-retained prostheses were used most often for rehabilitation after reconstruction with iliac crest (44%, 100/229 compared with 26%, 605/2295 if another flap was used) (p<0.001). There were no apparent changes in the choice of flap or in the complications reported. Although we were able to show some significant differences relating to the types of flap used, we were disappointed to find that fundamental outcomes such as the need for osteotomy, and rates of non-union and fistulas were under-reported. This review shows the need for more comprehensive and consistent reporting of outcomes to enable the comparison of different techniques for similar defects

Significant Effects of Antiretroviral Therapy on Global Gene Expression in Brain Tissues of Patients with HIV-1-Associated Neurocognitive Disorders

Antiretroviral therapy (ART) has reduced morbidity and mortality in HIV-1 infection; however HIV-1-associated neurocognitive disorders (HAND) persist despite treatment. The reasons for the limited efficacy of ART in the brain are unknown. Here we used functional genomics to determine ART effectiveness in the brain and to identify molecular signatures of HAND under ART. We performed genome-wide microarray analysis using Affymetrix U133 Plus 2.0 Arrays, real-time PCR, and immunohistochemistry in brain tissues from seven treated and eight untreated HAND patients and six uninfected controls. We also determined brain virus burdens by real-time PCR. Treated and untreated HAND brains had distinct gene expression profiles with ART transcriptomes clustering with HIV-1-negative controls. The molecular disease profile of untreated HAND showed dysregulated expression of 1470 genes at p<0.05, with activation of antiviral and immune responses and suppression of synaptic transmission and neurogenesis. The overall brain transcriptome changes in these patients were independent of histological manifestation of HIV-1 encephalitis and brain virus burdens. Depending on treatment compliance, brain transcriptomes from patients on ART had 83% to 93% fewer dysregulated genes and significantly lower dysregulation of biological pathways compared to untreated patients, with particular improvement indicated for nervous system functions. However a core of about 100 genes remained similarly dysregulated in both treated and untreated patient brain tissues. These genes participate in adaptive immune responses, and in interferon, cell cycle, and myelin pathways. Fluctuations of cellular gene expression in the brain correlated in Pearson's formula analysis with plasma but not brain virus burden. Our results define for the first time an aberrant genome-wide brain transcriptome of untreated HAND and they suggest that antiretroviral treatment can be broadly effective in reducing pathophysiological changes in the brain associated with HAND. Aberrantly expressed transcripts common to untreated and treated HAND may contribute to neurocognitive changes defying ART