Nicola Mai – Assembling Samira: an art science installation on embodied humanitarian borders


Nicola Mai – LAMES, AMU/CNRS, France, London Metropolitan University, UK

The humanitarian protection of vulnerable migrant groups has enforced new biographical borders. Migrants seek to obtain state benevolence and legal migration status through the performance and embodiment of humanitarian scripts emphasizing victimhood and suffering. Only those whose performances of suffering and humanitarian subjectivities are deemed credible are given humanitarian protection. Gender and sexuality have become strategic narrative repertoires through which humanitarian and biographical borders are inscribed on the bodies of migrants. The Emborders filmmaking/research project reproduces the different performances and narratives of migrants targeted by humanitarian protection as they emerge in interviews with authorities, with social researchers and with peers and families. It draws on real stories and real people, which are performed by actors to protect the identities of the original interviewees and mirror the inherently fictional nature of any narration of the self. By using actors to reproduce real people and real life histories, the project ultimately challenges what constitutes a credible and acceptable reality in scientific, filmic and humanitarian terms.

Samira is a two-screen art science installation presenting the story of Karim. It assembles different ethnographic moments and scripts as they emerged through ethnographic fieldwork in Marseille. Karim is an Algerian migrant man selling sex as SAMIRA at night in Marseille. He left Algeria as a young man as her breasts started developing as a result of taking hormones and was granted asylum in France as a transgender woman. Twenty years later, as his father is dying and he is about to become the head of the family Samira surgically removes her breasts and marries a woman in order to get a new passport allowing him to return to Algeria to assume his new role.

Samira (Emborders 1) is the first of Emborders’ four installation/movies. It was produced by IMeRA in co-operation with SATIS (Departement Sciences Arts et Techniques de l’image et du Son of the Aix-Marseille University) and will be presented at the antiAtlas exhibition.

See the conference slides, the installation Samira.

See the full program of the antiAtlas conference, Aix-en-Provence 2013

Jean Cristofol – Distance and proximity in a multidimensional space


Jean Cristofol – philosopher, Higher School of Art Aix en Provence, France

The physical space in which we live is inseparable from the forms through which we represent it. These forms mobilize objective knowledge, but they also engage an imaginary in which we project ourselves. From this point of view, the physical space is not only the result of our practices. It is inhabited by subjects who identify issues within it . It is defined by fictions and stories.

We inherit these stories and fictions, which implement a continuous space that is based on the opposition of near and far, distance and proximity, here and elsewhere. Borders draw lines of discontinuity between homogeneous entities. The figure of the journey, that of utopia, the themes of the island or the labyrinth, the limit and the crossing are incarnations of such stories. But these figures are not only free constructions of the mind, they are also in correspondence with the forms and media in which they were articulated. They are actually produced by the relationship to the modes of technical and social existence of an era.

When trade and travel are determined by the flow of information and ubiquitous autonomous devices affect our modes of perception and our direct action capabilities, how can we conceive and operate them? What is our relationship to space when it is built in a complexity that disrupts the ways to understand the very meaning of distance or proximity? If the space in which we live and communicate is a complex and multidimensional one, how can we build its representation?

See the conference slides

See the full program of the antiAtlas conference, Aix-en-Provence 2013

Noel Sharkey – Keeping them out and keeping us in: the robot border


Noel Sharkey – artificial intelligence, Sheffield University, UK

This talk will examine developments in future robotics technology that could be applied to the protection of borders. The use of unmanned aircraft is already being used to identify border incursions and track ‘offenders’. And there are plans for the use of ground robots to intercept those crossing borders illegally. But this is just the beginning. The next generation of military robots will find their own targets and attack them without human supervision. Currently states are reluctant to give up such developments despite international protest. If they continue, it will only be a matter of time before autonomous robots enter service in the civilian world to help keep out ‘illegal’ immigrants. But in any discussion of the new technologies we must consider their potential misuse to seal us in.

See the conference slides

See the full program of the antiAtlas conference, Aix-en-Provence 2013

Cédric Parizot – AntiAtlas of borders: an art-science experimentation


Cédric Parizot, coordinator of the antiAtlas project, anthropologist, IMéRA, Institut de Recherche et d’Études sur le Monde Arabe et Musulman (IREMAM – AMU/CNRS), Aix en Provence

At the beginning of the 21st century, the functions of State borders have changed. Borders do not just contain but also overflow spaces, districts and jurisdictions. Borders are losing their linear aspects and are becoming more mobile and more diffuse in order to adapt to globalisation. Actors managing border control have also substantially multiplied. In addition to states, new stakeholders such as agencies, corporations, and NGOs have emerged as actors of border management. The ways in which people’s mobility is controlled are more and more diversified and differentiated. People have to pass through multiple networks and identification devices. All these mutations have to be analyzed in detail, using a wide range of modes of expression and critical tools.

See the full program of the Aix-en-Provence conference, 2013

Manifesto: Towards an antiAtlas of Borders

At the beginning of the 21st century, the functions of State borders have changed.  Borders do not just contain but also overflow spaces, districts and jurisdictions. Borders are losing their linear aspects and are becoming more mobile and more diffuse in order to adapt to globalisation. Actors managing border control have also substantially multiplied. In addition to states, new stakeholders such as agencies, corporations, and NGOs have emerged as actors of border management. The ways in which people’s mobility is controlled are more and more diversified and differentiated. People have to pass through multiple networks and identification devices. All these mutations have to be analyzed in detail, using a wide range of modes of expression and critical tools.

Border Changes in the 21th Century

The transformation of borders is intimately connected to the ways globalization has altered productive chains, communication and defense systems, work and culture. Neoliberalism has promoted national reforms that include fiscal austerity, free trade and labor flexibility, while promoting global agreements on taxes, banking and accounting standards. Freedom of mobility has been conceived through an economic perspective. At the same time, there are new strategies which aim at containing migratory pressures through the selective filtering of human flows.

From flow control to risk management

These transformations have resulted in a contradiction between economic practices that increase unequal global development and the need to implement sustainable and fair global development. There is also a geopolitical contradiction between national governments’ policies, which are limited by their sovereignty, and the need to regulate transnational processes through global governance frameworks. To address these contradictions, national governments have assigned state borders the function to guarantee people’s security in a world characterized by transnational mobility of people, capital, goods and ideas. In other words, borders are supposed to allow a high level of mobility while protecting against social, economic, political, and public health risks the mobility of people generate.

The role of borders as effective means of security has declined because of the difficulty to distinguish between internal and external origin of migrations, terrorism, economic and financial flows, software piracy and pollution. The lines between domestic and external security have become blurred to such extent that these domains are difficult to separate clearly. In this context, border control is conceived and implemented in a selective and individualized manner. The purpose of such control is not just to secure the national group in order to guarantee citizens’ well-being.  Instead, the aim of border control is also to securitize individuals themselves in order to perpetuate the political existence of a national society. Seen in terms of risks, human, commercial and information flows are becoming the targets of surveillance. Border control has become a form of risk management. Because these movements overflow the national space and cannot be circumscribed by it, securitization strategies are now conceived on a global scale.

The objective of border securitization is less to fully close these flows than to improve the mechanisms to filter them. Borders are functioning as firewalls; they aim to allow legitimate traffic and contain unwanted people perceived as both risks and threats. Borders could be very porous to capital, but not to workers with low levels of formal education. The implementation of this new logic of control has led to an unprecedented process of integration of surveillance systems, such as borderland devices, biometry, numeric and satellite networks, RFID, drones, robots, radars, CO2 detectors and all other objects used to detect, identify and follow the movement of human bodies. This process has gained popularity based on the notion that technological automation will improve border control by reducing costs and human error.

Mutations of borders and shifting forms of mobility

Keeping flows under surveillance today means that border controls managed by police, custom services and private companies get redeployed inside the national territory as well as projected inside other States’ territories. Customs may operate in foreign ports and airports. Visa checks are carried out in the country of migrants’ origin, not only in embassies but also in private offices. Simultaneously, check points are multiplied in order to track people and providers of goods who have managed to circumvent surveillance systems. Lastly, in order to exclude certain categories of flows, special zones such as detention centres, staging areas in airports, or free zones have been created on uncertain juridical basis. Such increasingly selective control implies a diversification of circulatory regimes: regimes regarding the circulation of goods are increasingly constituted by WTO agreements on tariffs and trade, whereas the circulation regimes affecting human flows get managed through more or less coercive migratory policies. Border crossing chances are determined by a complex set of factors such as professional status, gender, natioanl origins, ethno-religious stereotypes, economic and linguistic capacities, affiliations, etc. In the post 9/11 context, new operational dilemmas have emerged due to contradictions between the constraints of securitization imposed by efforts to prevent terorrism and the efforts required to safeguard the fluidity of global trade.

The main outcome is the generalization of negociated mobility based on contingent arbitration: creating the conditions for fluidity and interconnections implies increasingly sophisticated overriding clauses.  Major TNCs, for instance, bargain both accesses and tariffs. In this context, flagrant gaps between hyper-connected spaces or people and closed ones have emerged. The needs of people who are deprived of rights to circulate are cared for by an expanding humanitarian regime which goes further than basical asylum rights. NGOs take charge of « unwelcome » groups of migrants  considered as vulnerable. Depending on how well they fulfill the ‘true victim’ stereotype, in which the presentation of a suffering body becomes key to arouse compassion and solidarity, migrants are granted fundamental rights. However, since ever more restrictive policies frame global migrations, access to asylum and welfare rights has drawn a humanitarian boundary line throughout the world.

The sophistication of entrance regulations leads to an individualization of controls, particularly on the basis of biometric data. People who wish to bypass the biometric control systems are obliged to modify their physical aspect, notably by achieving mutilation and erasure of fingerprints.  Borders are now likely to be embedded in the person. Border management is embodied as it detaches from the territory. This means individualizing controls and biometric processing of borders.

Trespassing and diverting  the rules of the game

These changes are all the more complex as they involve multiple actors.  The companies and agencies who are mandated by national states to manage border surveillance have formed clusters of firms. The latter make money out of services that manage the mobility of humans, goods, and capitals.  Some specialise in assisting procurement of visas or fast track  work permits. Others, like consulting groups, optimize the means towards accelerated transborder freight. These groups build databases and provide global benchmarking for harbour logistics. As a result, control devices are set up to improve the power to control flows.

More informally, a high number of actors intercede in favour of modulated and moderated filtering, so that borders become more porous. Migratory traffic provide good examples of such arrangements. People smugglers have organized and have gained key positions in the system, as they can ease or obstruct entrance according to their own interests. They have become unofficial ‘regulation authorities’. Formal authorities cannot put an end to their networking and prefer to enlist them in fighting other forms of criminality. Thus, they incorporate informal networks to their own mechanisms of regulation and control.

Why an antiAtlas?

Atlases as map collections have instructed populations and delighted book lovers for centuries. Atlases are edifying objects. They provide a scientific representation of territorial divisions and a unifying glance at the world as a whole. Spatial sciences (topology, geometry, geography) have shown constant concern for sharp graphs and various scales. The history of border drawing consists of comings and goings between static and formal outlines and the fluidity of social experience. The instability of international relations has been benefic many geographers. Maps have always been political objects par excellence.  The process through which border lines have stabilized is directly related to their mutual recognition in treaties. Making an atlas of borders means to experiment stability or to give the illusion of it.  Setting the world in (right) order through maps is both a social and political process. So, why conceiving an antiatlas of borders ? Is it simply to create disorder?

A dynamic and critical approach

Our project may deceive both active partisans of order as well as internal enemies and partisans of disorder who look for innovative insights. Our project aims at a collective exploration. Talking about an anti-Atlas of borders first means that systematic graphic visualization of borders is not the most acceptable and desirable way of understanding borders. We do not contest the usefulness of maps as scientific tools, but the very idea that systematic compiling enlivened by comments may provide adequate knowledge of borders. Formal institutions are often in favour of geopolitical catalogues, insofar as this provides a synthetic vision of social and political relations. Such a titanic rendering of the world is less desirable to us than multiple investigations of complexity. Borders, beyond their topology, address ontological, morphological, sociological, anthropoligical and psychological issues – that is to say we shoud pay attention at the same time to their location, their mode of existence, their forms and shapes, their existing as social and mental facts,  etc. Postulating a territorial order is less interesting today than assessing how far borders are made of physical inertia, to what extent they are socially constructed – and from which mobilizations and demobilizations – how they materialize and dematerialize contextually, how we encounter them as evolving devices, how they function as launchpads for deterrioralized control and surveillance, how they work mechanically, electronically, biologically, how they condition exchanges, produce formal and informal rules, and finally more or less random outputs of what is legitime and what is not. What is at stake is thus to understand the border as a perpetually changing process rather than as a simple place. Atlases produce a static and stable synthesis while an antiatlas produces a dynamic and critical analysis.

From scientific exploration to artistic experimentation

Initially conceived as an exploratory research project, the antiAtlas of borders has become a performance in the artistic meaning of the word. The fact that researchers, professionals of border control, and artists have met each other for ten seminars between 2011 and 2013 has of course allowed them to enrich their own approach. In addition, this has also led to uncommon transdisciplinary experiences through which original works have reffered to borders as they are lived: this has been the case when producing video games and films on the basis of anthropoligical observations, when managing participative cartography, etc. Moreover, artistic works have provided many explorations and experiences of our ambivalent relation to borders – one one side, what they make of us, of our identity, of our intimacy, of our body, etc.; on the other side, what do we make of them, how we give them material and immaterial visibility or invisibility, how we play with them, either for freeing of them, or for surveying and denouncing our contemporaries. Tactic media as diversions of surveillance are spectacular manifestations of such an ambivalence. These pieces help us to keep some distance with the domination/resistance alternative. They show that the relations between the rationality of control initiatives and the practices that evade them are perpetually replayed.

Favouring a dialogue between art, science, and practice, does not mean promoting a new ‘doxa’ for border studies. We simply assume that transdisciplinarity generates cognitive gains made of quotations, transfers and exemplification. Any discipline at any time may function as a vehicle for another one. None of each specific knowledge is confronted to the collapse of its proper logic, but committed in new experiments,  with all the limits and benefits this may induce. This is the way the antiAtlas challenges our routines by pushing everyone for experimentation and taking completely different backgrounds into account.

From reality to virtuality

Approaching borders in the 21st Century supposes to perceive the transformations of spaces, both from space constitutencies and common experiences. This makes them a major element of our way to express how the world we live in can be represented, and what is our own position in it. Through processing the antiAtlas, we are trying to understand how people cross borders but also how borders modify their experience of space. New technologies of networked control settle spaces which are no more stretches but flows, loops, and interactions. These are virtual spaces, as the web spectacularly illustrates. The nation-state territory in its Westphalian meaning used to correspond to stretches, boundaries and marks. What is now humanly experienced, beyond this, is a daily life made of flows and networks. This addresses new questions to the way we conceive spaces, economically, culturally, and politically, and consequently our new experience of constructing social ties and communities. Communities are now provisional and shifting, they lay upon new alternatives and new forms of particpation, they do not encompass our whole lives any more. Such network forms imply a deep reconceptualization of the distinction between the public and the private sphere, the individual and the collective, the real and the virtual. To sum up, the main goal of this antiAtlas of borders is to understand the evolution of our political relation to space and to examine our common destiny.

Cédric Parizot – anthropologist, Institute for Research and Studies on the Arab and Muslim World (UMR 7310, Aix Marseille Université, CNRS) and the Institute of Advanced Studies of Aix Marseille University (IMéRA)

Anne-Laure Amilhat Szary – geographer, Laboratoire Pacte (UMR 5194), Université J. Fourier, Grenoble
Antoine Vion – sociologist, AMU, Laboratoire d’Économie et de Sociologie du Travail (UMR 7317 Aix Marseille Université, CNRS)
Gabriel Popescu – Geographer, Indiana University South Bend
Jean Cristofol – philosopher, École Supérieure d’Art d’Aix-en-Provence (ESAA)
Isabelle Arvers – Curator and producer
Nicola Mai – video performer, anthropologist, London Metropolitan University, Londres
Joana Moll – media artist
With the help of Ruben Hernandez-Leon for the English version

Aix en Provence, september 2013

Andrea Rea – Controlling the undesirable at the border-network


Andrea Rea, Université Libre de Bruxelles-GERME, Belgium

This paper aims to present the main contemporary approaches of the concept of border. The second part of the paper is dedicated to an alternative approach of the processes of bordering focusing more on the relationship between bordering and mobility rather than bordering and territory as often encountered in the literature. The border is defined as border-network, a network of space-time units (airport, seaport, public space for instance) where the human (bureaucrats at the consulates, border guards, liaison officers, travellers, etc.) and the non-human (databases, laws, procedures) interact with the aim to produce practices of state sovereignty. A special attention will be paid to the relation between Europe and the countries south of the Mediterranean in a third part. Based on the concept of border-network, it is possible to analyse the European mobility policy with regards to the countries south of the Mediterranean, by paying particular attention to the security apparatus accelerating the mobility of legitimate travellers, on the one hand, and filtering and blocking undesirable people, persons suspected of circumventing immigration laws on the other. Every single person who has to do with mobility is placed under surveillance but some are under control. Last part of the paper will be dedicated to the outline we can produce with the use of border-network concept for the analysis of the control at the airport.

See the slideshare of the conference

See the full program of the antiAtlas conference, Aix-en-Provence 2013

Gabriel Popescu – Technological Determinism and the shaping of Mobile Borders


Gabriel Popescu – IméRA, AMU, Indiana University South Bend, USA

The modern political-territorial organization of the world has been built on a geographical imagination that sees space in absolute terms, as a rigid object that can be broken into quantifiable pieces. In political practice, this has lead to the division of the globe in mutually exclusive territorial units based on linear borders. Recently, we are witnessing a changing geographical imagination to incorporate a polyvalent perspective that acknowledges the relational nature of space and that is more in tune with a notion of space defined by mobility in the form of connections and nodes rather than by territorial proximity and distance decay. Accordingly, we are witnessing the emergence of complementary forms of state borders that depart from the norms of territorial linearity by becoming embedded into flows that can travel and be monitored continuously across space. The shaping of these mobile borders is heavily influenced by digital technologies that are assumed to have predictive powers and are generally conceptualized in terms of unfaltering efficiency and as panacea for securitizing transnational mobility. The problem with such logic behind the incorporation of technology into border making is that it assumes social life can be rendered digitally knowable and thus (mis)constructs border subjects as material objects detached from their social and political contexts. It is essential to clearly understand the limits and the benefits of these border technologies for society in order to assure border governance remains representative of the public interests instead of stifling them.

See an interview of Gabriel Popescu

See the full program of the antiAtlas conference, Aix-en-Provence 2013

Joana Moll – AZ: move and get shot

Joana Moll
AZ: move and get shot
Visit the project

AZ: move and get shot by Joana Moll is a net based piece which shows the natural, animal and human flows in the landscape of the U.S. / Mexico border in the state of Arizona, through the eyes of six surveillance cameras.

These cameras are part of an online platform created by a group of landowners with properties in the U.S. border. The platform shows the images of six surveillance cameras located in the border territory. The main purpose of this community is to provide the public with raw images of immigrants crossing the border illegally through their fields. Each camera incorporates a motion sensor which triggers the capturing of images when detecting the slightest vibration of the landscape. Then, these pictures are sent to a server and displayed directly on the web page.

While the main goal of the landowners is to capture and disseminate photographs of immigrants entering the United States illegally, the camera is programmed to detect and record any kind of movement. By delegating the surveillance to a machine, the original human intention is lost, and the original purpose takes shape as a collection of images that reveal not only immigrants but all kinds of human, animal and natural activity. Therefore, the monitoring action becomes something uncontrollable and potentially meaningless.

The piece is composed of six independent films automatically made from the images captured by each camera. Every 24 hours, a Bot detects whether there are new pictures. These new images are saved to a local server and added algorithmically right after the last frame of the corresponding video. Thus, the films expand and reveal, day by day, the pace and the nature of the movement of the Arizona borderland.

Joana Moll. Barcelona, 1982. Holds a Master’s degree in Digital Arts from the Universitat Pompeu Fabra and a BA in Visual Arts from the Universitat Autònoma de Barcelona. She has performed and exhibited her work internationally in venues such as Arts Santa Monica and The Picasso Museum in Barcelona, the Oi Futuro Institute in Rio de Janeiro, the Albuquerque Museum of Art and History, the Lancaster University in UK and the Ithaca College in New York, from where she received an award for “The Texas Border”. She took part in FILE 2011 held in Sao Paulo, FILE 2012 in Rio de Janeiro, ISEA 2012 edition and Festival Internacional de la Imagen 2013 in Manizales. She also contributed to the development of interactive projects for the Science Museum of Granada, the Institute of Palaeontology of Sabadell and the Universitat Pompeu Fabra. She is actively collaborating with Sauti ya wakulima project and with the trandisciplinary research project Antiatlas of Borders at IMéRA, Marseille (France).

Gabriel Popescu – Re-visualizing Border Cartographies through Art: From lines to flows and portals

Gabriel Popescu
Re-visualizing Border Cartographies through Art: From lines to flows and portals

The reason for turning to Arts to help make sense of the reterritorialization of state borders comes from the realization of the inherent limitations of social as well as natural sciences to imaginatively produce new “ways of seeing” of space.

Our lives are structured to a significant extent by the way we organize space. The modern political-territorial organization of the world has been built on a Cartesian view that sees space in absolute terms, as a finite and rigid object that can be broken into neatly quantifiable pieces and rationally explained. In practice, this had meant that we have divided the globe in mutually exclusive territorial units based on borders. Moreover, we have organized daily life in a nested hierarchy of bounded territories, from neighborhood, to city, to region, to state, and to supra state.

One of the most consequential outcomes of this ubiquitous mode of organization of social life is that we have become so accustomed to relating to space in “either/or” and “here/there” terms that we have become mentally trapped inside this binary border-based model, making it difficult to imagine alternative ways of territorial organization. Nonetheless, as historical circumstances change with globalization, this model comes under significant pressure to deal with a polyvalent perspective that acknowledges the multiplicity, relationality, and context-dependent nature of space. Such perspective is more in tune with a notion of topological space defined by flows, nodes, and connections that is qualitatively different from the modern notion of topographical space defined by territorial proximity and distance decay.

One of the biggest challenges today is to find appropriate ways to represent on maps these qualitatively different ways of seeing space. In other words, how can we best represent political borders as real-time mobile flows when the image of territorial borders is seared into our brains by more than three hundred years of cartographical practice? This is where the Antiatlas project fits in. Maps are cultural artifacts, and the cultural context in which they are produced shapes the message they are set up to deliver. Having understood that the way we draw borders on maps structures the way we think about and act upon the world, it follows that in order to understand the geography of networked flows and instantaneous connections between places we need to go beyond drawing border lines around territories on world maps. Although revolutionary in their own ways, developments in social and natural sciences such as “network analysis” or “remote sense mapping” have fallen short of delivering in this respect. Developments in visual arts, ranging from graffiti on border walls to graphic design, have come the farthest so far. What is needed to escape the modern mental “territorial trap” are ways of seeing and drawing that reveal what the geographical abstraction of the borderline obscures. It is only in this way, then, that we will acquire the necessary tools to think through a technologically enabled world of border flows and portals.

Biography

Gabriel Popescu is Associate Professor of Political Geography at Indiana University South Bend. His scholarship is located at the intersection of power, territory, and mobility and focuses on the changes taking place in the spatial organization of social life under globalization. His current work investigates the relationship between new developments in digital technology and transformations in border territoriality. He is the author of Bordering and Ordering the Twenty-First Century: Understanding Borders (Rowman & Littlefield, 2011).

Nicola Mai – Samira – Emborders #1

Nicola Mai
Samira – Emborders #1
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Samira is a 25 minutes two-screen art-science installation presenting an ethnographic account of the life history of Karim, an Algerian migrant man selling sex as a travesti at night in Marseille. Karim left Algeria as a young man as his breasts started developing as a result of taking hormones. He was granted asylum in France as a transgender woman, Samira. Twenty years later, as his father is dying and he is about to become the head of the family Samira surgically removes her breasts and marries a woman in order to get a new passport allowing him to return to Algeria to assume his new role.

Samira is part of the Emborders art science project questioning questions the effectiveness and scope of humanitarian initiatives targeting migrant sex workers and sexual minority asylum seekers. In order to get their rights recognised and avoid deportation migrant women, men and transgender people reassemble their bodies and perform their subjectivities according to standardised victimhood, vulnerability and gender/sex scripts. In the process only a minority of migrants targeted by anti-trafficking interventions and applying for asylum obtain protection, refugee status and the associated rights. The vast majority are treated as collateral damage and become either irregularly resident in immigration countries or forcefully deported against their will and in often dangerous circumstances to their countries of origin. Between 2014 and 2015 the Emborders project will explore these dynamics through 3 more  ethni-fictional installations, which will also be edited in the form of a one-screen movie, on the life and migration trajectories of sexual minority migrants, asylum seekers and refugees in Marseille, Paris and London.

Nicola Mai is an ethnographer and filmmaker working as Professor of Sociology Migration Studies at London Metropolitan University. His main research interest is the negotiation of gender, sexuality and subjectivity through the migration process, with particular reference to the globalised sex industry as a contested and ambivalent space of control and autonomy. In his academic work and films, Nick problematises prevailing understandings of the global sex trade as characterised by exploitation and victimisation, by showing the complexity of the subjective investments of the people involved.

Joana Moll & Héliodoro Santos Sanchez – The Texas Border

Joana Moll & Héliodoro Santos Sanchez
The Texas Border
Audiovisual online installation

“The Texas border ” is an audiovisual online installation showing the live broadcasts of surveillance cameras placed by BlueServo along the U.S. Mexico border in Texas. BlueServo is an internet platform managed by the Texas Border Sheriff ‘s Coalition, which makes several border surveillance cameras available to anyone who wants to monitor those attempting to enter the United States illegally and report these actions by means of a website. The piece consists of 64 videos, some of BlueServo archives, showing attempts to enter US territories which failed as a direct result of the reports submitted by anonymous users to BlueServo. The act of observation which aims to “protect” the country has become a very symbolic monitoring performance carried out by U.S. citizens, in which the images that appear on the screen does not even need to be real.

Joana Moll. Barcelona, 1982. Holds a Master’s degree in Digital Arts from the Universitat Pompeu Fabra and a BA in Visual Arts from the Universitat Autònoma de Barcelona. She has performed and exhibited her work internationally in venues such as Arts Santa Monica and The Picasso Museum in Barcelona, the Oi Futuro Institute in Rio de Janeiro, the Albuquerque Museum of Art and History, the Lancaster University in UK and the Ithaca College in New York, from where she received an award for “The Texas Border”. She took part in FILE 2011 held in Sao Paulo, FILE 2012 in Rio de Janeiro, ISEA 2012 edition and Festival Internacional de la Imagen 2013 in Manizales. She also contributed to the development of interactive projects for the Science Museum of Granada, the Institute of Palaeontology of Sabadell and the Universitat Pompeu Fabra. She is actively collaborating with Sauti ya wakulima project and with the trandisciplinary research project Antiatlas of Borders at IMéRA, Marseille (France).

http://www.janavirgin.com/

Héliodoro Santos Sanchez (Colima, au Mexique, 1984) studied the MA in Digital Arts at the Universitat Pompeu Fabra in Barcelona, Spain (2009-2010), a degree in Visual Arts from the University of Guadalajara (2002-2006), plus have completed Basic Painting Workshop in IUBA Colima University (1998-2000) and the Diploma in art, Media and Technology (digital art) at the Centre de Cultura Casa Lamm, Mexico, DF (2007-2008). It also has several parallel studies and courses in sound art, graphics and contemporary art with teachers: Manuel Rocha Iturbide, Ivan Abreu, Betsabeé Romero, Santiago Ortiz, the group Graffiti Research Lab, among others

Patrick Lichty – The Private Life of a Drone

Patrick Lichty
The Private Life of a Drone
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The Private Life of a Drone by Patrick Lichty is a video travelogue recorded by flying video drones, exploring the area surrounding the Virginia Center for the Creative Arts in Amherst, Virginia (US).

Patrick Lichty is a technologically-based conceptual artist, writer, independent curator, animator for the activist group, The Yes Men, and Executive Editor of Intelligent Agent Magazine. He began showing technological media art in 1989, and deals with works and writing that explore the social relations between us and media. He also works extensively with virtual worlds, including Second Life, and his work, both solo and with his performance art group, Second Front, has been featured in Flash Art, Eikon Milan, and ArtNews. He is also an Assistant Professor of Interactive Arts & Media at Columbia College Chicago.

Alban Biaussat – The Green(er) Side of the Line

Alban Biaussat
The Green(er) Side of the Line
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Alban Biaussat presents his photographic project, political and aesthetic, “The Green(er) Side of the Line”. It refers to the line dating back to the 1949 armistice between Israel and some of the neighboring Arab countries (Syria, Jordan, and Egypt). During the negotiations, a green ink was used to draw the line on the map. It is controversial, challenged by those who would redefine the boundaries by separating populations and cultures according to their geographical presence rather than the existing legal frameworks.

Born in Paris, France, in 1970 Alban Biaussat moved professionally into photography after years working for international organisations in Eastern Europe, the Caucasus, Central Asia, Africa and the Middle East. Alban Biaussat is interested in exploring creative documentary photography to address complex socio-political issues and their perception. Member of Picturetank, a Paris-based cooperative photo agency, since 2008, he is also co-founder & Director of Collateral Creations, an innovative audio-visual production platform based in Paris, working in partnership with research institutes, policy analysts, international organisations, and corporate clients for communication and advocacy purpose.

Romain de l’Ecotais – Au pied du Mur

Romain de l’Ecotais
Au pied du mur
Documentary
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Since 2007, huge metal pillars planted in the desert, on more than one third of the 3600 km border between the United States and Mexico, are the new barrier which already has made more victims than the Berlin Wall. In this territory, the broken families is increasing. The access to the American Dream is a project increasingly perilous, and hopes of migrants are often proportional to the energy and resources deployed to destroy their attempts. In these times of crisis, Mexicans and Americans also mobilize for migrants to defend their rights and to make people aware of their living conditions. For Mexican youth, the United States appear from year to year more inaccessible, but not out of reach, as long as it still a dream.

Romain de l’Ecotais is a director of 29 years, based in Marseille. In 2005, after the university ended with a Masters in International Economics and a Masters Documentary Film and Social Sciences, Romain de l’Ecotais began to work on the theme of exile and labor. It carries out projects of all kinds, from business film to documentary , also the directing audiovisual workshops with young people from Aubervilliers. Achievements made in the Music Conservatory of Marseille, or in a social cafe in Belleville, to meet the molecular kitchen Thierry Marx, and the discovery of the environmental initiatives in Japan, or in the daily Senegalese wrestlers in Pikine, Senegal.

Ben Fundis, Clara Long, John Drew – Border Stories

Ben Fundis, Clara Long, John Drew
Border Stories
Documentary
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Border Stories is re-imagining the documentary, one with no beginning, middle, or end. Its only linear aspect is the border itself. Our crew travels the length of the U.S.–Mexico border, from Brownsville, Texas to Tijuana, Mexico in search of stories that portray the human face of this politically and emotionally-charged region.

Ben Fundis is graduated from Bard College with a degree in film studies. He is the editor and director of “Que Mira?” a documentary about a refuge for former street children in the cloud forests of Nicaragua.

Clara Long has an academic background in development studies and human rights and holds a master’s degree in journalism from Stanford University. She’s worked and studied in Brazil and Venezuela. As a journalist, her work has appeared on National Public Radio, in the Times of London, the Associated Press.

John Drew is the co-founder and former associate editor of “The Citizen,” a hyper-local magazine based in New York’s Hudson Valley. He grew up in Peru, Bolivia and Venezuela and graduated from Duke University with a degree in economics.

Olga Kisseleva – Arctic Conquistadors

Olga Kisseleva
Arctic Conquistadors
Interactive map
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Arctic Conquistadors examines the tensions and conflicts characterizing the Arctic today. The Arctic space is being re-mapped / re-drawn / re-appropriated by the traditional stakeholders and newcomers, be it private or state-owned corporations, governmental or non-governmental bodies. The artist reflects on how the current situation is effected by the overlapping interests of geopolitical and corporate powers, referring to the ‘global conquests’.

From the beginning of the 90s Olga Kisseleva on the invitation of the Fulbright Foundation found a roof for her work in the research group in the United States which dealt with the development of digital technologies. She mainly stayed on the research laboratories in New York and in California, where she participated in the first adventurous beginnings of Silicon Valley. In 1996 she is getting her PhD for her theoretical work on the theme of new forms of hybridization and she is invited to the Fine Art Institut of “Hautes Etudes” in Paris. Since then she has been developing original work in which is oscillates between truth and untruth and she is searching for improbable boundaries that separate both. In all of her projects the viewers very much take part, thereby the artists challenges the ability of new media to create a true picture of reality.

Atelier Limo – Border Bistro et Frontier Survey

Atelier Limo
Border Bistro
webdocumentary
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Le Café du Centre, Le Stade, La Maison du Peuple, The Snug Pub, Le Gambrinus, Café Brem, Le Cercle Saint-Georges, Café der Pley, Haas Casino… Le web-documentaire Border Bistro de l’Atelier Limo propose de revivre le déroulé de 9 journées passées dans 9 cafés le long de la frontière linguistique belge et de reconstituer des discussions de comptoir sur la base d’interviews effectuées sur place.

Atelier Limo
Enquête frontalière
Database
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What does a border look like in space? How can we understand a geographic 3000 kms line?

The „Frontier Survey“ database offers 238 interactive sheets, describing in their own way the reality of unusual places, for they were located on a border that separated the elder EU-countries from the new ones in the heart of the continent until December 2007. Conducted during the summer of 2006, this gathering of information in the form of photographs, interviews, texts, diagrams and sound pick-ups builds up living evidence and status reports one year before the demolition of frontier infrastructures and the ending of controls following the entry of 9 new countries in the Schengen Area. Given their geographic location and their history, these places are at the heart of the stakes of the European expansion, and are therefore now living important changes.

L’atelier Limo : Simon Brunel, Nicolas Pannetier et Maya Keifenheim

Simon Brunel is born in 1982 in Boulogne sur mer (F). Diploma of Architect at Lille’s School of Architecture and Landscape (DPLG) in 2007. Various experiences as an architect in France and in Berlin. Invited in 2007/2008 via the DAAD organism at the European Viadrina University of Frankfurt/Oder (D) to the Visual Anthropology Seminar in order to developp the project of touring film „The Barriers Within“. Setting up of the Limo Workshop with N. Pannetier.

Nicolas Pannetier is born in 1977 in Bordeaux (F). Musician and architect, diploma of Architect at Lille’s School of Architecture and Landscape (DPLG) in 2007. Various experiences as an architect in France and Austria. Invited in 2007/2008 via the DAAD organism at the European Viadrina University of Frankfurt/Oder (D) to the Visual Anthropology Seminar in order to develop the project of touring film „The Barriers Within“. Interpreter and composer notably for the original soundtrack of the film „The Barriers Within“.

Maya Keifenheim est artiste, réalisatrice et pédagogue. Après des études de philosophie et de sciences en communication et média, elle s’est engagée dans de nombreux projets dans les domaines du film et du théâtre. Elle était récemment à la tête du département de production vidéo de la compagnie berlinoise Sofatutor. Depuis 2012, elle est active au sein d’Atelier Limo.

Simona Koch – Borders

Simona Koch
Borders
Animated pencil drawing

Living things leave behind traces through their mere existence, the paths they embark on, the actions they perform, and in doing so influence the lives of other organisms. They have a tendency to mark their territory or, like man, to draw borders. National borders describe the limits of dominions. A border always means both inclusion and exclusion, and has an impact on political, social, cultural and economic factors.
Generally, the shifting of borders occurs during wars and involves bloodshed, human and ecological tragedies. For exiles and refugees it means the loss of their native country, roots and places dear to them. For nature it can entail the clearing of entire swathes of land. In the case of the Spanish Armada in the 16th century, half of the country was cleared to build a flotilla with which the Spaniards sought to conquer England. Legend has it that in the years before this mass clearance, squirrels could travel from the Pyrenees to Andalusia jumping from one tree to the next without ever touching the ground. Yet border conflicts also bring about the loss of cultural roots – even many generations later the traces of a border shifting are still palpable.

Simona Koch has visualized these traces in a series of video animations. First she used historical maps to research the shifting of borders. Then in the animation she drew the borders in pencil on a blank sheet of paper, repeatedly erased them and replaced them chronologically by the subsequent border lines up until the present day.

With the view from above one can observe mankind digging itself through earth like barke-beetles. Then finally today’s borders get erased, too. What remains is the vague shape of the respective world region portrayed by a myriad of blurred lines.

The German artist Simona Koch is fascinated by the varieties of the living. Where does life come from and where does it go. How are beings connected to each other and what part do humans play in this stetting …?
After finishing her diploma in graphic design Simona Koch studied free arts (Academy of Fine Arts, Nuremberg, Germany – 2007 as masterclass pupil). Her multi medial work is shown national and internationally. She received several prices and grants – among others the 6 month travel grant of the Bavarian ministry of education and cultural affairs which enabled the project ORGANISM 4 / Fungi (http://organism4.en-bloc.de) in 2009. As well as the Bavarian Kunstförderpreis for visual arts (2012). In 2012 also her book “ORGANISMS” was published at Verlag für moderne Kunst. www.en-bloc.de

Fabien Fischer, Lauriane Houbey, Marie Moreau, Sarah Mekdjian, Anne-Laure Amilhat-Szary – Crossing Maps

Fabien Fischer, Lauriane Houbey, Marie Moreau, Sarah Mekdjian, Anne-Laure Amilhat-Szary
Crossing Maps
Installation

Crossing Maps is a device at the intersection of humanities and art resulting from an experimental and participatory mapping workshop. This workshop was held in Grenoble between May and June 2013 and involved twelve participants including asylum seekers and refugees, three artists – Fabian Fischer, Lauriane Houbey and Marie Moreau, the ex.C.es Association, two researchers in geography – Sarah Mekdjian and Anne-Laure Amilhat-Szary ( Lab – PACT Project EUborderscapes http://www.euborderscapes.eu/ ), the organizer Coralie Guillemin – and a photographer – Mabeye Deme.

Asylum Seekers, refugees, artists and researchers address mapping as a creative technique highlighting people’s experiences. The maps produce and evoke memories of travel and migration adventures. CROSSING MAPS is a workshop, a fieldwork and an installation.

The installation consists of texts, audio-visual and choreographic works: Marie Moreau’s ‘Atlaslocal’ installation; ‘Travel Legends’, an installation by Sarah Mekdjian, Anne -Laure Amilhat – Szary and Gladeema Nasrudden ; ‘Not Here Yet’, a sound installation by Fabian Fischer (not shown in the exhibition ); and ‘From Here to There in the Middle’ a walking sound installation by Lauriane Houbey (not shown in the exhibition).

Sarah Mekdjian : enseignante-chercheuse, maître de conférences en géographie à l’Université Pierre-Mendès-France, Grenoble II et au laboratoire PACTE, Sarah Mekdjian travaille sur les géographies critiques de l’immigration, en particulier sur les modes de figuration (contre-)cartographique des migrations internationales contemporaines.

Marie Moreau : vit et travaille à Grenoble. Plasticienne, aventurière et vidéaste. Ses installations et ses films lèvent les questions de l’errance, des non-lieux, des terrains vagues et autres espaces de possibles, oubliés, cachés, exclus. Ses travaux prennent la forme d’une quête, comme un voyage au quotidien, une fresque épique pour un dépaysement local. http://moromari.free.fr/BDD/; www.syndicatinitiatives.free.fr

Anne-Laure Amilhat Szary : Spécialiste de géographie politique, professeur de Géographie à l’Université Joseph Fourier et chercheur au sein du laboratoire PACTE (CNRS UMR 5194), membre junior de l’Institut Universitaire de France (2010-2015).   Après plusieurs années consacrées à l’analyse des dynamiques frontalières en Amérique Latine et en Europe, qui l’ont conduite à formuler la notion de « frontière mobile », ses dernières recherches concernent les interrelations entre art
et culture dans les lieux contestés.

Lauriane Houbey : artiste chorégraphique et plasticienne, formée en danse contemporaine au CNR de Grenoble. Je m’engage dans des projets tissant enjeux du collectif et élaboration d’un penser et d’un mouvoir ensemble, nourrissant ma recherche sur les liens entre partition en danse et cartographie des territoires. Je mène, avec l’ex.C.es et Marie Moreau, divers projets d’expéditions, d’éditions, d’installations. Depuis 2012, je développe avec Laurie Peschier-Pimont le projet chorégraphique Matrice, créé à l’ESBANM.

Fabien Fischer : diplômé de sociologie, Fabien Fischer s’oriente vers le cinéma documentaire en suivant une formation à l’Université Paris VII-Jussieu à Paris. Depuis, il travaille l’image animée et le son où bien souvent sont en jeu des individus mis de force à l’abri du regard.