Border Next (Gothenburg 8-14 June 2010)

The Beyond Borders Network is a series of Workshops on Borders, though I note that the work involved in anticipation of the meetings themselves is perhaps as important as the meetings – certainly in terms of creative work it borders on the insane. The meetings themselves have been jam-packed.

In “Sonic Border” (London Nov 2008) we explored the way sound crosses the border differently, provoking a rethink of the border’s location – not just in ports, but between us all, in conversations, in ideas – an oppressive structure of language, meaning, representation, and a cry of protest and the music of solidarity across divides. Sound problematized the geographic and visual location of the border regime.

In “Theatre Border” (Berlin April 2009) the performative, tactile and ritualistic force of the border as staged power suggested we rethink connection, touch, proximity and co-responsibility. The theatrical exclusion of others manufactures a charade populated by demons, caricatures and monstrosity. We don’t want to be cast in such dramas, and our engagement with the 20th Anniversary of the fall of the Berlin Wall involved considerable polemic. The conference included a peripatetic component that was documented by camera and mobile DV. Finally, our discussions included work on a theatre production (work-shopped by the Swedish network participants, and subsequently performed in public).

In “Border Documents” (Copenhagen Nov 2009) we join with the CPH.DOX documentary film festival to consider the border as it unfolds in time/screen based media. We were thinking about the telematic border, CCTV and the scanning screens of the immigration check, and the ways film can frame alternative ways of seeing, witnessing, representing, archiving and experiencing ‘the elements of truth’ (from one of our guest speaker Hito Steyerl, 2003). We explored how the documentary form can carry a politic, an ethics or an epistemology and how documentary film and border activism lends itself to the cinematic to film another way across.

In “Border Infection” (London March 2010) we explored the metaphors of contagion and virus, the way borders are porous and subject to infestations and/or prophylactic attempts at security. In this workshop we joined with LDN-BRU who put on a week long gallery exhibition of works made (by our Network participants) in response to the themes. This was a great success and is to be repeated alongside the final Network meeting in June. It will provide excellent illustrative material for a prospective publication. In Border Infestation we also explored a maritime thematic (see picture) in the area around Goldsmiths, taking up again the peripatetic idea from the Berlin workshop, also successfully.

“Border Reverb” is the last of the series of events, to be held in June 2010. The workshop moves to Gothenburg Sweden to join with the Clandestino Music Festival – to consider, reflexively, what we have learned (and unlearned, un-texted) from the Beyond Text opportunity. The final sessions will address the re-verbing of the Border, among other things.

7 thoughts on “Border Next (Gothenburg 8-14 June 2010)

  1. Border Reverb as the Clandestino Talks part of Clandestino, will be held in Gothenburg June 8, 9, 10 and 11. Confirmed speakers – Gayatri Spivak, Raul Gshrey, Rangan Chakravorty, Abhijit Roy.


  2. My suggestion would be something more like a short presentation/roundtable discussion along the lines of “Branding the Border” (here probably referring mostly to geographical/national border); From my part, this would be 10-15 mins on how the “glamorous” world of western consumption capital invites/funds/manipulates artists of a certain “exotic” identity in order to advertise themselves better or sell more. In my case (latest obsession): Miuccia Prada (she holds a PhD in Political Sciences, may I remind you…). Think of the Double Club (created by Carsten Höller, with money from the Prada Foundation) in London last year: the exotic Congo co-existing with “the west” ( Or her latest ad campaign for Spring/Summer 2010, “First Spring”, a short film by the Chinese artist Yang Fudong (shot in Shanghai, with men dressed in Prada menswear): Or, going further back, the first ad (on the first page) of OMA’s and Koolhaas’ “Content” (published by Taschen in 2004): black people in the street selling fake Pradas. So to recap: short presentation of ideas, some pictures, probably some short clips.
    Then, under the same umbrella-theme, more people could have rounds with short presentations. Visual and sonic bombing of fragments of research, observations, comments. Bits and pieces of tragicomic situations/events. Hopefully developing into a roundtable discussion where everyone can contribute, instead of 30-minute presentations and then discussion.


    1. Here is a suggestion of what my 10-15 min. contribution to the round table discussion could look like: With regard to my current research, I would like to look at the different instances of sonic reverberation that can be found in the music that I have been working on. In Dusk & Blackdown’s Indo-dubstep track “Kuri Pataka”, the sample of an a-capella of an old Hindi song – recorded in the Punjab, bought from a record company in Edinburgh – becomes a reverberation of the transcultural soundscape of London… How are borders crossed, shifted or reinforced… from the margin to the centre to the margin? How is sonic reverberation not one-directional, how does sound resonate differently in discursive frameworks, or musical performances?


  3. Border Reverb/Clandestino Talks – draft programme

    Tuesday June 8th 2010
    17.00–18.00 Welcome reception
    18.00–20.00 Gayatri Chakravorty Spivak in conversation with John Hutnyk
    Wednesday June 9th 2010

    – Elena Papadaki,
    – Rico Reyes
    – Ray Ganz et al
    – Sarah Ralfs “The reverb of the author/director”
    – Julian Henriques: “Vibratology: material, corporeal and political aspects of sounding”

    –Eyal Weizman: “Forensic Architecture: Only the criminal can solve the crime”

    Thursday June 10th 2010

    – Maria Mogren “Berlin. Brunnenstrasse” (film, 45 minutes)
    – Jennifer Otter & Andrej
    – Raul Gschrey
    – ExtraTerrestrials (tbc)

    Friday June 11th 2010

    – Heidi Hausbruch & Rachel Palmer
    – Abhijit Roy
    PER WIRTÉN @ Novotel [in Swedish] – co–arr with Arena
    – Carla Mueller–Schulzke: “Re–sounds of urban London”
    – Rangan Chakravorty: “Bangla Bands”

    Saturday June 12th 2010

    – Charlie Dark (tbc)
    – PAULINA DE LOS REYES @ Novotel [in Swedish] – co–arr with Tankekraft //


  4. Press Release: Border Reverb/Clandestino Talks,
    8–13 June 2010
    Gothenburg, Sweden.

    Music at night, political talks by day – and vice versa: Border Reverb resonates during the Clandestino Festival in Gothenburg.

    In what must be the most important intervention in music programming for years, and what will be a challenge to the (in)security and (in)sensibility of European immigration regimes, in early June 2010, Clandestino Talks presents Border Reverb. Joining forces with the Creativity Beyond Borders Network from the Centre for Cultural Studies, Goldsmiths University of London, Clandestino brings a number of key thinkers together to rethink the Border and its politics.

    Workshops and talks will offer challenges to restrictive immigration laws and practices and the ways these intersect with creativity, performance and artistic and musical opposition. Border Reverb will include keynote presentations by Eyal Weizman, Julian Henriques, Abhijit Roy and Rangan Chakravorty. The five-day session will begin with a special evening event on Tuesday, 8 June, with Gayatri Chakravorty Spivak in conversation with John Hutnyk.

    Border Reverb will examine the after effects of immigration and asylum policy, border and visa regulation and security surveillance, as well as the ways in which activists, artists and musicians have engaged with border politics worldwide. Clandestino has always supported such critical thinking and this workshop is part of a push towards a new Europe – a Europe without exclusions.

    Clandestino Festival is a three-day showcase of performances by musicians, DJs and artists. The Border Reverb workshop is accompanied by ‘title to be confirmed’, a video art installation curated by the LDN/BRU network (Benoit Loiseau & Joanna Figiel).

    Contacts (available for interview):
    John Hutnyk – John.Hutnyk[at]
    Joanna Figiel – ylayali[at] [for LDN:BRU]


    Gayatri Chakravorty Spivak is the most prominent critic of postcolonial studies working on global issues today. She is University Professor at Columbia University New York, and a feminist, Marxist, deconstructionist who has published a great many books, translations and essays, and is a tireless combatant of global injustice.

    Eyal Weizman is convener of the Research Architecture programme at Goldsmiths College and author of the book Hollow Land (Verso 2008), on the Palestine/Israel landscape.

    Abhijit Roy is Head, Department of Film Studies at Jadavpur University, Calcutta, India and a member of the editorial board of the Journal of the Moving Image.

    Rangan Chakravarty is a filmmaker, television producer, writer and journalist, currently working on the cultural phenomenon of Bangla Bands, a music movement, mostly led by young men in their early twenties in Kolkata and West Bengal.

    Julian Henriques is an accomplished filmmaker (BabyMother 1999) and sound system theorist, working at Goldsmiths College.

    John Hutnyk is Professor of Cultural Studies at Goldsmiths College, author of a number of books including Critique of Exotica: Music, Politics and the Culture Industry (2000 Pluto Press) and Bad Marxism: Capitalism and Cultural Studies (2004 Pluto). He writes irregular prose at

    Clandestino is the music festival to go to this summer.

    The Creativity Beyond Borders network is funded by the Beyond Text programme of the AHRC, UK


  5. Like on the last border-workshop in London in March, I’d like to discuss a younger performance of German artist Christoph Schlingensief – this time along the notion of border reverb. In a short presentation I’d like to discuss the notion of reverb in its dimension of the echo and as such as a movement of repetitive returning in different space-time relations. This way I’d like to figure out, how specific relations of the author/director and the audience are constituted in the performance by moments of reverb and what role the voice plays in those relations. My argumentation will be based on some DVD material of the performance, which I’d like to present, too.


  6. hi everybody,

    good to see how far things have evolved… my presentation will be about arts and borders, focussing on the works of the exhibition “grenzlinien/border lines” i am curating in mainz/germany in may-june.

    “boder lines. against/between/about arts and borders.” could me the title.

    more info on the exhibition:

    looking forward to se you all in gothenburg,


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