The Peace Treaty/ The Museum of Peace

The basis for my PhD research are the Camp David Accords, and their disastrous consequences for peace in the Middle East.

Starting from documentary material, I am researching- both politically and socially - the decades that followed the peace treaty that was signed in 1979 between Egypt and Israel after a 30-year conflict.

Secret negotiations took place at Camp David, the American President's residence, and were led by president Jimmy Carter. The negotiations were intended to be a framework for peace throughout the Middle East, but 30 years after date they have become a political instrument that only expresses a fraudulent peace tailored to a Western framework.

The goal of my research is not only a performative or theatrical reflection, but also the attempt to create an ontological space that contains several layers of meaning and at the same time also offers one narrative, one experience.

Therefore I decided to create a museum dedicated to:

'Those courageous white men who offered their services to create peace worldwide'

A museum in Brussels, the capital of Europe, the city that harbors the headquarters of NATO.

A Peace Museum, that focuses on the attempts that the leaders of the Western World leaders have made to create worldwide 'peace'.

The project itself wants to be a multi-layered, transdisciplinary documentary project, interweaving personal stories with rumors, facts with fiction. Material will be assembled from my own personal research and from interviews with individuals who have been in one way or another the victim of these western attempts to create peace.

The Peace Treaty/ The Museum of Peace is a project that focuses on moments of 'aborted dreams' and wants to build strength on a societal level through the use of rumors in a time where reality and fiction are difficult to separate, because they are 'superimposed' due to political and economical imbalanced moments. It is a project that wants to question what is myth and what is reality.

Focusing on the illusion that 'our' leaders have created, that they can change or alter the course of history by intervening in conflicts that, at first sight, have nothing to do with them.
The huge discrepancy, between the 'official' narrative and writing of history and how events are portrayed and how they are experienced. The reframing of the truth to the benefit of evil regimes. The showing of something as something else, or even the opposite by imperialist powers that want to force their neo-colonial views on that region for the sole benefit of the trade of weapons and economical benefits.

Focusing on a system that relies on the power of rumors and the area between talking and silence.

It is my aim to try to write this history differently by creating a work process in which I can integrate my reaction to events and feel inspired rather than impeded in times of urgency.
Therefor I want the museum to be run by the people directly involved, victims or survivors of our western peace interventions.

In my artistic practice dealing with documentary material the form is always the outcome of the content and is therefore not fixed in the beginning of the process.

Not focusing on the voice of power or on how those in power want us to read history, but on the voices of the 'infamous men talking about their lives', as Foucault called them.
Through my work I wish to create an environment that encompasses inner travel through space and time through creative ways of assembly.

While doing so I will also try different methods of interactivity and question issues of audience involvement. Focusing on giving the audience a lead or a point of entry, to be able to create a personal relationship, and to create a collective connectedness. So each audience member feels that:

'This museum is especially for me or this is also somehow about us.'