Abstract
ABSTRACT This article analyses a selection of creative projects engaging with Romanian migrant labourers, in relation to the controversy in the UK and in Romania prompted by the Channel 4 television series The Romanians are Coming (2015). The case studies are a co-production exploring post-communism and the history of Romania through the history of the Dacia car, My Beautiful Dacia (2009), by Romanian artist Ştefan Constantinescu and Spanish documentary maker Julio Soto, and British artist Adam Chodzko's short film The Pickers (2009), a collaboration with a group of young Romanian strawberry pickers working in Kent, who co-edit and comment on found historical footage of agricultural labour. The article considers the modes of address and tactics deployed within these different observational documentary-style productions in relation to the politics of Brexit, drawing on TJ Demos's work on the reification of migrants in documentary image-making more globally.
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