In the second day of our workshop, we fleshed out the list of borders in the city and sorted them into categories. Afterwards, we identified the themes that interlink and influence the visibility of these borders.
In this video, a migrant worker documents just one of the sites of friction that is encountered along the path to a work permit in Moscow. For citizens of the CIS, the “simplified procedure” to attain a work visa involves crossing many urban borders.
Artist: Dima Fillipov, Moscow Based on personal experience of almost every human process, overcoming the distance from home to school, is almost the only time spent alone with him, and out of the zone of influence. Of course, as a rule, children are attending groups, but sometimes there are moments of loneliness.
20 years after the fall of the Soviet Union several young directors come to the borders of previously united countries. Their personal stories dedicated to people, who find a way to remain united, despite the new borders.
The Drawing of Our Lives, Dan Berlin 2003-2011 A project documenting their movement patterns in daily life for 10 years, using GPS. https://vimeo.com/51509950
Art project of two Moscow based artists looking at their mental and physical borders in contrast to the city of their origin – Yekaterinburg.
Science art as an area of complex investigation that leads humanity to a new world view. Art/artist has the ability to enter the territory of the experiment science of trial and error.
“Bodies in urban spaces” is a performance intervention which tries to uncover and challenge restrictions to movement and behavior in the city.
Great start to the workshop, with discussions about concepts and perceptions surrounding borders. We found a lot of interesting contrasts rooted in language and in culture, leading us to conclude that visible and invisible borders are highly socially constructed which need to be tactically addressed in context specific ways.
Imponderabilia (1977) was a collaborative performance by artist Marina Abramovic and Ulay, in which they flanked the entrance to the Galleria Communale d’Arte Moderna in Bologna, Italy—completely nude.