What is it about?
Borders, far from being mere geographical demarcation lines, are spaces where policies, laws and practices regulating the movement of people, goods and information are exercised. These policies are determined by state and supranational institutions, which impose their control, making borders places where institutional power is tangibly manifested. The artist Ursula Biemann, in her work "Performing the Border", uses the video essay to challenge and critique institutional power structures in these liminal spaces. Through the qualitative analysis of the work, the different narrative techniques implemented to generate this critique have been analysed. Biemann makes visible the inhuman conditions and structural violence faced by people on the border, using testimonies, documentary images and visual and sound metaphors. He constructs a fragmented and heterochronic narrative that invites critical reflection and reinterpretation of the border reality. As a result, “Performing the Border” not only documents these realities, but also offers a profound critique that challenges institutional power structures, highlighting the importance of art and the video essay as tools for questioning and transforming power structures in contemporary societies.
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Why is it important?
Biemann's work is notable for employing the video essay as an innovative and critical tool to dissect and challenge the institutional power of borders. This approach is unique in its fusion of artistic practice, theoretical analysis and cultural critique, offering a multidimensional narrative that not only documents but also interprets and re-imagines the socio-political realities of border spaces. By focusing on the feminisation of labour, structural violence and power dynamics on the US-Mexico border, the research takes on particular relevance in today's globalised context, where migration, gender inequality and socio-economic exploitation are pressing issues. By juxtaposing personal testimonies, visual metaphors and soundscapes, her work transcends traditional academic discourse, inviting a broader engagement by interdisciplinary scholars, artists and activists. The timeliness of the research is that it addresses the urgent need for new methodologies - such as the video essay - that disrupt linear and hegemonic narratives, thereby promoting a more inclusive and critical understanding of contemporary border politics. This approach can significantly increase readership by appealing to a wider audience than academia, including arts practitioners, policy-makers and socially conscious readers. The emphasis on practical ideas, such as how art can critique and potentially transform power structures, also resonates with movements advocating for justice and equity in border regions around the world.
Perspectives
From a personal standpoint, this publication represents a deeply meaningful convergence of my passions for visual art, critical theory, and social activism. As someone who has long been drawn to the complexities of liminal spaces—both literal and metaphorical—this work allowed me to explore borders not just as physical demarcations but as sites of negotiation, conflict, and transformation. Through the lens of Ursula Biemann's Performing the Border, I found an opportunity to delve into themes that resonate profoundly with me: the interplay of gender, power, and space, and the ways in which art can amplify marginalized voices. What excites me most about this project is its capacity to challenge traditional academic norms. By embracing the fragmented, subjective, and experimental form of the video essay, I felt I was contributing to a dialogue that is both critical and creative, embodying the fluidity and complexity of the issues at hand. This approach mirrors my belief in the power of art to transcend boundaries—not just geopolitical ones, but those of discipline, medium, and perception. This work is not only an academic endeavor but also a personal statement about the potential for art and scholarship to intersect in ways that inspire empathy, awareness, and action. I hope it sparks reflection and engagement, encouraging others to view borders as dynamic spaces ripe for redefinition and resistance.
Maria L. Ruiz-Banon
Universidad de Murcia
Read the Original
This page is a summary of: Desafiando el poder institucional de la frontera: El videoensayo como herramienta crítica en la obra de Ursula Biemann, European Public & Social Innovation Review, September 2024, Revista Latina de Comunicacion Social (RLCS),
DOI: 10.31637/epsir-2024-819.
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