Mapping Schengen Art – Part IV

Here is the fourth instalment of Schengen border artan ongoing project in which I try to map the multifarious ways in which the Old Continent’s (real and imaginary) frontiers have been represented/performed/subverted.

 

Blue in Morocco – Blue (2012, wall art)

Blue artist

 

 

 

 

 

 

http://www.madnesswall.com/2012/04/blu-in-morocco-new-wall-near-spanish.html

 

Caution border – AA.VV. (2009, installation)

Brussels - art 2

 

 

 

 

 

 

 

 

http://www.cultura21.net/karamoja/html/art/index.php

 

Without borders? - Kontekst and h.arta (2009, exhibition)

main-julius1

 

 

 

 

 

 

 

 

 

 

http://workshopwithoutborders.wordpress.com/exhibition/

 

Undocumented Apparel – Julio Salgado (2012, illustrations)

uni_salgadoundocumentedapparel_wmain

 

 

 

 

 

 

 

http://juliosalgadoart.bigcartel.com/

 

Schengen-Funk – Sprutbass (2013, music)

Sprutbass

 

 

 

 

 

 

 

 

 

 

http://www.nofearofpop.net/blog/sprutbass-schengen-funk-melkeveien-remix

 

 

 

Mapping Europe’s border art – Part III

Here is the third instalment of Schengen border art, an ongoing project in which I try to map the multifarious ways in which the Old Continent’s (real and imaginary) frontiers have been represented/performed/subverted.

 

Schengen – Helmy Nouh (2013, film)

 

Schengen film

 

 

 

 

 

http://schengenfilm.com/

 

 

Migrants moving history: Narratives of diversity in Europe (2007, documentary)

 

Migrant Moving history

 

 

 

 

 

 

 

http://www.migrants-moving-history.org/documentary.htm

 

 

The list – Banu Cennetoglu (2006, installation)

 

banu_cennetoglu_listamsterdam

 

 

 

 

 

 

http://edno.bg/en/sofia-contemporary-2013/program/759

 

Permanent Waiting Room (2008, Installation)

 

Container

 

 

 

http://www.kitch.si/livingonaborder/node/7

 

Melilla – Flo Razowsky (2007, photos)

 

detentionyard_spain_border_ceti_melilla_1207_BW_small

 

 

http://www.lightstalkers.org/galleries/contact_sheet/9398

 

New Voices from Europe and Beyond’ – ARC Publications/ Literature Across Frontiers (Poetry Anthology Series)

 

Catalan-Poets-front-cover-cropped-493x273

 

 

 

 

 

 

 

 

http://www.lit-across-frontiers.org/activities-and-projects/project/new-voices-from-europe-and-beyond/

 

Mapping Europe’s border art – part II

In my previous post I presented the project Schengen border art. What follows are some more examples of creative representations and performances of/about European frontiers. Enjoy!

 

There is no place – Lisl Ponger (2007, photographs)

There is no place

 

 

 

 

 

 

 

 

http://www.grenzlinien.com/lisl-ponger.htm

 

Foreigners registration office - Ximena Aburto Felis (2007, video)

Foreign registration

 

 

 

 

 

 

http://www.endloop.org/videos.html

 

Blue Wall of Silence – Vibeke Jensen (2007, installation)

BWStuesday3s

 

 

 

http://www.thing.net/~vibekeie/bluewall_index.htm

 

Frontiers – You’ve reached Fortress Europe (2008, videogame)

Fortress Europe game

 

 

 

 

 

http://www.frontiers-game.com/

 

Schengen - Raphael Haroche (2006, song)

Rafael Schengen

 

 

 

 

 

http://www.youtube.com/watch?v=m9UG-ejy6g8

Mapping Europe’s border art – a project

Art and other creative expressions about European borders have been a recurrent theme in this blog. So much so that I have decided to launch a new side project specifically dealing with this topic. After all, isn’t the end of the year a time for new resolutions? The tentative title of this endeveour is ‘Schengen border art’, and I am planning to develop it in the upcoming months. The goal is to map contemporary artistic performances whose main subject is the Old Continent’s frontiers, be it the ‘real’ boundary demarcations in the political, social, economic realms or their imagined projections, and in the people who cross, build or challenge them on a daily basis. These artistic performances can take different forms: from novels, poems and paintings to photographs, videos, sculptures, land art, simulations, installations, theatrical and other types of  ‘live’ performances. The number of these artistic expressions has mushroomed in recent years as a result of the growing interest in (and controversy over) Europe’s borders and their management. Below you will find a preview of this body of work. And stay tuned for updates on this project!

After Schengen – Ignacio Evangelista (2013)

th-17_pl-cz

http://ignacioevangelista.com/index.php?/seleccion-natural/work-in-progres-after-schengen/

 

Maritime Incidents – Heiko Schäfer (2008).

schaefer04-k

http://www.heikoschaefer.de/projects/start/maritime_incidents.html

 

Migration, Installation – Raul Gschrey (2010)

gschrey02

 

 

 

 

 

 

 

 

http://www.grenzlinien.com/raul-gschrey.htm

 

Memorabilia – Sabina Shikhlinskaya (2012)

IMG_4967-n_small-200x300

 

 

 

 

 

 

 

 

http://transkaukazja.de/?p=333&lang=en

 

Contained Mobility - Ursula Biemann (2004)

Capture

 

 

 

 

 

http://www.geobodies.org/art-and-videos/contained-mobility

 

Fortress Europe – Asia dub foundation (2003)

Asia Dub foundation

 

 

 

 

 

 

http://www.youtube.com/watch?v=eMXKt99W61A

***

Scotland’s independence, Schengen, and today’s border reivers

border_reiversWith this week’s issuing of the white paper ‘Scotland’s Future’,  the Scottish government  has officially launched its campaign for the September 2014 referendum on independence. If successful, Scotland would (re)gain full sovereignty and thus control over its destiny. What that means in practice is that Edinburgh, among other things, would be able to exert control over its newly independent territory, including its borders. The Scottish-English frontier would then become Europe’s latest “t

errible reality” (as Dion back in the 1940s referred to Europe’s post WW2 frontiers). Yet, politicians in the Scottish government have quickly dismissed the claims (rumors?) that a modern day Adrian’s wall would be erected  between modern day Caledonia and Britannia – rumors that originate, not surprisingly, mostly from south of the future border). No new fortifications, no customs and passport checks.  And above all – vade retro satana! – Scotland will be not forced by some nasty (continental) Europeans to join the Schengen regime. Scotland will therefore be free to reclaim its land border. Or maybe not. It would take it back, but just symbolically. The UK (or what would be left without the Scots) will not be compelled to open a northern flank in its battle against the masses of (Continental) Europeans yearning to breathe free (and  work) in modern day Albion. Or maybe they will. After all, an independent Scotland, even if outside Schengen, might still feel like inviting those  irritating (Continental) Europeans. And then who would check whether they’ll be sneaking down south? The twisted nature of this debate (and of the motivations of those behind it), then, seems to conjure the re-appearance in modern  guise of an epic and controversial figure that characterized the lawless territory constituting the pre-Union Anglo-Scottish borderland, namely that of the border reiver. Border reivers were individuals (both of Scottish and English descent) who raided the areas around the Anglo-Scottish frontier and robbed their victims of their belongings with no regards to the victims’ nationality. Crucially, governments on both sides of the border were either turning a blind eye or even actually encouraging their actions, because reivers would do the dirty work against the other side that governments were either unwilling or unable of carrying out. What modern day rulers should keep in mind, however, is that border reivers were notoriously unreliable, switching side when convenient and even plundering those who ostensibly they had vowed their allegiance to.  From wherever side of the Anglo-Scottish fence you might sitting today, a sound piece of advice would be: behold all these novel border reivers!

 

Jurmala’s ghosts and the Haunted Houses of Schengen

imagesHalloween. The time when the undead come to town. And when boarded up haunted houses start making eerie sounds and come alive. This year, however, not all of them seem that decrepit and spirited. Some in fact remain relatively quiet. These are the haunted houses of Schengen. Haunted, yet  alluring. Indeed, they can be quite luxurious.  They also do not appear in creepy places (So no Castles in Transylvania – not yet. at least, for Romania is still waiting to join Schengen…). On the contrary, they rise along swanky neighborhoods or exclusive beach resorts. Who lives there? Hmmm, good question. If we had an answer, these houses would not be haunted… A more pertinent question is: why would anybody in their sane mind be so foolish as to own such as a ghostly abode?  Wait a minute: it’s Schengen, stupid! Yes, what makes these architectural ghosts so attractive is that they happen to be in the most sought-after place on earth, namely Europe (Yes, some find the decadent Old Continent still attractive!). And if you are not a European citizen and require a visa to enter Eurodreamland, then why not buy your way into paradise by claiming a fictitious residence there? And here enters Jurmala, the Latvian resort city by the Baltic Sea. In 2010, the Latvian government introduced a program that allows foreign citizens to acquire residency in the country if they are willing to invest at least 71,000 euros. Minimum requirement to maintain residency: have a local address (an apartment in Jurmala sounds good!) and be there one day per year (yeah, the day the haunted houses of Schengen come alive!). And who cares about the sandy beaches (The Baltic sea is not the Caribbean after all). With a local residency in your pocket, the doors of Europe are open to you! No more hassle at EU embassies! No more dealing with these callous and ungrateful European officials! To good to be true. Indeed, in three years, around 7,000 ‘zombies’, mostly well-healed Russians, Chinese and Kazakhs, have taken advantage of this unique opportunity. But like everything else, good things are bound to come to an end. Latvia is now feeling a bit of pressure from its EU partners (should we blame them?) to close this loophole. And they might have another reason to do so. Purportedly, the rationale for this program is to encourage money flows into the country. Yet this money is often laundered and sent back to the ghost’s (ehmm, resident’s) country of origin. So much for Latvia’s gains! None should that surprised then if this year’s Halloween might seal the program’s fate: R.I.P the Haunted Houses of Schengen!

The place to be: Schengen and Europe’s new grand tour

Schengen monumentThe way  ‘Schengen’ has captured the popular imagination around the world does not finish surprising me.   After all, not that long ago the term only referred to a sleepy little village along the river Moselle, known for its wine, and not  much else. And then came the omonimous (and  infamous) treaty that led the way to the creation of a border free Europe. This document, it should be noted, was signed on a cruise ship (the Princesse Marie Astrid), in itself quite an odd feat: how many treaties have been signed on water, and on the move? A rocking treaty indeed! From then, everything was downhill (or downstream, I should say).  Almost thirty years on, Schengen is not just still alive and kicking and an established element in Europe’s political landscape. It has also become part of the collective imaginary among European citizens (NB: that does not mean that everybody is happy with it. On the contrary, there has always been opposition to it, and, of late, this opposition has been mounting. Yet, even for its enemies, Schengen is a real and powerful presence to be reckoned  with. ) Interestingly, this apparently inexorable process of Schengen mythicization is spreading beyond Europe as well. Elsewhere in this blog. I have described this phenomenon, especially through some of its most unexpected expressions in popular culture (see, for instance, my musings on the recently opened Schengen restaurant in Petersburg). I thought I had seen it all. Instead, recently I came across something that pushes the boundaries of the Schengen mythical saga a step further. What I am referring to here is a video, posted  over the summer by a Taiwanese TV channel. The 5 minute clip is a colorful, postcard-like presentation of the town of Schengen as a tourist attraction for a Taiwanese audience. Now, it is true that East Asian international tourism has expanded exponentially in recent years, especially to Europe, and that this new wave of tourists have become more demanding (the classic tour of European capitals does not do it anymore…). Still, visiting a small village in the middle of nowhere?  Why  on earth? Well, as it happens, the main reason to visit is that…. it is the birthplace of the Schengen regime! Of course!  After all, what’s most exciting than visiting the monument that commemorates the agreement, located just outside the town, along the river Moselle (see pic) on a sunny (though the sun is not always guaranteed) European summer day?  Together with the Colosseum, the Tour Eiffel, Buckingham Palace, Schengen is the place to be. Or, at least, this what the TV is telling you. See it to believe it, in your next grand European tour!

What’s on the menu? Schengen as geo-culinary topos

A truly European flavour...

A truly European flavour…

Since last May, Russia has its own ‘Schengen’. It’s a place where you can go for pleasure or business. It’s a restaurant in Saint Petersburg. The restaurant is located not far from the Finnish Consulate, where the owner goes to get “the cherished Schengen visa.” Hence the name. But there is more to it than pure happenstance. The reference to ‘Schengen’ is meant to evoke the cosmopolitan aura that Europe’s area of free movement is supposed to project, together with other related ‘progressive’ notions such as open-mindedness, sophistication, and freedom. This spin is not that surprising. After all, the purpose of any act of ‘branding’ is to sell a product to a customer, and thus the product should be associated with something positive. In the eyes of the management, ‘Schengen’ is supposed to do the trick.

And the trick seems to work. According to one reviewer, Schengen is “a new location for smart people.”. In terms of menu, another reviewer notices how “at first (it) seemed concise to the point of being a bit parsimonious” (these stingy Europeans!), although the overall experience is one of “visa-free satisfaction”. Schengen’s design as well is quintessential European. It has in fact a “slightly Germanic feel” but it “bring(s) together influences from different parts of Europe into an effortlessly harmonious whole”. (Well, “slightly Germanic feel” might be a bit of understatement when we look at Europe today; in turn, the Old Continent is all but “effortless” and “harmonious” these days, but you get the picture…)

From its clientele to its look, Schengen (the restaurant) thus seems to uncannily represent a microcosm of Europe’s border free area, or at least what European policy-makers would like to present outside the region. In this sense, Schengen (the restaurant) is not unique. There are other examples of businesses with topographical names reminiscent of a location that is different from the one where that business actually lies. It is arguably one of the most common practices in the hospitality industry. After all, almost all respectable cities around the world have a ‘London’ or ‘Paris’ restaurant, even if these establishments are located neither in England nor in France. The Schengen restaurant is also not the only bearing a name of topographical entity that does not actually exist. (We should keep in mind that formally ‘Schengenland’ is not a political entity that we can find on a map; in EU legal documents, the reference is still to the territory of member states). Cities are replete with hotels bearing the names of fictional locations, including mythical ones (for example, ‘Paradise’, ‘El Dorado’).

What distinguishes the case of the Schengen restaurant is that it refers to both a real and a fictional entity. The restaurant’s name in fact refers to something that simultaneously does and does not exist. In this context ‘Schengen’ is something real because, according to those who chose this name, its referent object is an existing political entity with defined ‘commonsensical’ features; however, it is also  fictional, because this political entity does not formally exist, or at least it does not necessarily exist in the way the management of the restaurant thinks it does. Ready to go to Schengen? Check its menu first, there might be surprises…

Saying ‘non’ to Schengen: or how a visa refusal can challenge the system

Image

A Non-Schengen ticket…

“Non, merci”. These simple words have caused a stir, embarrassing France and Europe as a whole in the process. What I am referring to is the symbolic gesture that a young Senegalese woman, Bousso Dramé, performed last week after the French consulate in Dakar had granted her a visa to travel to Europe. She really wanted to go to Paris. And she well deserved it (the trip was the prize for winning a French writing contest). Yet, she declined. We often hear stories about visa applicants, especially in developing countries, being turned down by callous European officials. Not this time. Drame turned them down. And she did not do it silently. She wanted to let the consulate officials know why she did it  – because of the way she was (mis)treated during the application process. She also wanted everybody else (in Africa and beyond) to know. And she wanted to make a statement about the humiliation that many people like her have to endure in order to get to Europe. That is why she put all her bitterness in writing, in a composed yet powerful j’accuse against a ‘system’ that she feels is profoundly unjust, which pretends to be objective but whose main raison d’être seems to be that of keeping unwanted people out of Europe.

Drame’s gesture has made me think about other symbolic performances that target Europe’s visa system, in this case using art as their main ‘weapon’. What I have in mind is what Milevska  calls ‘Non Schengen Art’[1]. The common theme addressed by non–Schengen artists is the impact of the Schengen border regime on the everyday life of Eastern European citizens (those holding passports of countries that are not yet Schengen members). In order to present their work in Western Europe, these artists (themselves citizens of ‘Non Schengen’ countries) need to obtain a visa. To challenge what they perceive as a clamp down on their freedom of expression, they conjure up performances, objects, installations, and video or photography projects that are clandestine attempts for finding a way to trick the political system and bureaucratic procedures. These performances are often based on illegal tactics that mirror the creative ways in which would-migrants try to sneak across Europe’s external borders, such as faking passports, bribing officials, avoiding surveillance cameras, overstaying visas, white weddings, etc. Their criticism of the Schengen regime, rather than overt and outspoken, is evoked by their actions. They are not just representing an illegal migrant in their art; they are performing it. Thanks to these performances, art becomes part of everyday life. But the artists’ objective is not to reify the ‘everydayness’ that Schengen represents, but to disrupt it from within.

The Serbian author Tanja Ostojić, for instance, in her performance Crossing Borders, realized in 2000, the author illegally crossed the border between Slovenia and Austria. When she crossed the border, Slovenia was still a non Schengen country, and its borders with the EU were heavily fortified. According to Ostojić, the journey was possible only because of the help she received from her Austrian friends who accompanied her in the treacherous trek across the Slovenian-Austrian border. The final objective of the work of Ostojić and other members of the Non Schengen Art movement is to unveil Schengen’s exclusionary underpinnings. Their artistic performances thus engage with ‘the system’, if only as a means to debunk it from within. This is precisely what Drame’s ‘spectacular’ gesture seems to be doing. The power of  a ‘non’…


[1]  Milevska, Suzana, “Non-Schengen art: the phantasm of belonging”, paper presented at the UCL school of Slavonic and East European studies 7th annual international postgraduate conference, Inclusion Exclusion, University College London 16-18th February 2006

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