© Iris Andraschek u. Hubert Lobnig, Fratres, 2019
© Iris Andraschek u. Hubert Lobnig, Fratres, 2019
© Iris Andraschek u. Hubert Lobnig, Fratres, 2019
© Iris Andraschek u. Hubert Lobnig, Fratres, 2019
© Iris Andraschek u. Hubert Lobnig, Fratres, 2019
© Iris Andraschek u. Hubert Lobnig, Fratres, 2019
© Iris Andraschek u. Hubert Lobnig, Fratres, 2019
© Iris Andraschek u. Hubert Lobnig, Fratres, 2019
© Iris Andraschek u. Hubert Lobnig, Fratres, 2019
© Iris Andraschek u. Hubert Lobnig, Fratres, 2019
© Iris Andraschek u. Hubert Lobnig, Fratres, 2019
© Iris Andraschek u. Hubert Lobnig, Fratres, 2019
 

andraschek iris u. lobnig hubert


<

die verwandlung – borders are vacillating



The project Die Verwandlung (The Transformation) – Borders are Vacillating by Iris Andraschek and Hubert Lobnig explores the “transformations” of borders after the fall of the Iron Curtain, as well as after the border controls were abolished as a result of the Schengen Agreement, and after an increasing number of refugees began coming to Europe in 2015.
Andraschek and Lobnig realized a project already in 2009 that was originally meant to be temporary at the border crossing between Fratres and Slavonice, a crossing which after 1989 had closed down bit by bit. The project consisted of a 60-meter-long and four-meter-high metal construction with the words Wohin verschwinden die Grenzen? Kam mizí hranice? (Where Do the Borders Go?) attached to it. This work was part of a binational state exhibition; paired with a series of staged photographs installed at the site, it also became a statement about the discourse on borders at the time. A version of this work is currently on display at the Landesgalerie Niederösterreich (Lower Austrian State Gallery) in Krems.
Five years later in 2014, after the scheduled deconstruction of the installations on the border according to the Schengen Agreement, and after the border station was sold, works by Polish, Czech, and Austrian artists were presented in a group exhibition addressing the issue of borders and territory and were installed on the already existing, and since expanded, metal construction.
The year 2015 marked a turning point in the attitude and discourse regarding the borders between territories. The starting point for this was the large number of people who were forced to leave their homes in Syria due to the civil war who tried to reach Europe. Suddenly, borders between states became a key issue of election campaigns, while humanitarian aspects and social responsibility became controversial topics.
Today in 2019, looking back at recent years and with an eye on the 30-year anniversary of the opening of the Iron Curtain, the question is now how borders and the discourse about them have changed since that time. In the latest continuation of the project, the original question of Where Do the Borders Go? has been supplemented with key concepts like “transformation” and “metamorphosis.” Borders are Vacillating thus refers to how borders topple and sway. They disappear, they move, they become invisible, relocate, dissolve, and are reinforced somewhere else.
For Borders are Vacillating, nine international artists were asked to present their perspectives on these shifts and changes in the form of images and metaphors. The works were exhibited on the existing displays installed outdoors—in the area where the border control used to take place between the two former border stations—as well as in the former border house, which is now privately owned and was accessible to the public for the first time during the several weeks of Die Verwandlung – Borders are Vacillating.

O = Outdoor space
B = Border house


haben sie sich schon in unsere mailingliste eingetragen?




Für laufende Informationen machen Sie
Ihren Eintrag in die Mailinglist.
Klicken Sie dann für Eintragungen „eintragen“
für Austragungen „austragen“.

www.noe.gv.at/datenschutz