On my list of photo books to buy:
I can’t find any decent photos of the book online, but there are a few small photos from the project HERE.
From The Introduction:
This book, but also exhibitions of photographs, DVD slide shows, articles for publication, lectures and more can all be created out of the material that I accumulated between 2002 and 2005. With reference to the “photographic”, I inquired into the visibility and legibility of images. I found the political, economical and territorial shifts in the process of the changing definitions of the EU to be a parallel to this method of inquiry. With my focal point being borders both old and new, as well as hard and soft, I visited and photographed frontiers and frontier terrains throughout Europe. For a long time, I collected a lot of information about political, economical, cultural and social changes – maps, graphics, statistics, arguments and reports. I suggest that nowadays, nobody can set out to discover the unknown any more. All places already have a corresponding representation in our memory. My investigations are engaged with the intelligibility of this representation. The method I deployed used some of the characteristics of a “case study”. The “case” is Europe. As in case studies, I worked on the “data-collection” and “descriptive material” that are needed to introduce the research situa­tion. The “fact finding” is linked to texts and images.
The text Borders of Perception by Ulli Seegers connects my project to a theoretical investigation into the narrative and the abs­tract moment in which to depict and document reality, to construct a picture and to tell a story. The 247 photographs of Border Horizons take you on a journey through Europe. All images are shot on a digital still camera. My essay Retour, reportage describes some of my research, as well as some of the travel and border encounters I had whilst working on “Border Horizons” . 63 Picture postcards from the 60s and 70s found in second-hand shops illustrate holiday destinations under Cold War circumstances. Back then, Western Europeans went to Spain, Italy and France; Eastern Europeans to Yugoslavia, Poland, Roma­nia and Bulgaria. This is an exemplary instance of European reality before 1989 and before the enlargement of the EU.
Over a period of six years, I travelled back and forth between Germany and Norway and experienced the installation of the Schengen border at Bergen airport, even though Norway is not a member of the EU. For the majority of Europeans, the physical Schengen border is far away. At passport controls in airports, the border is moved inside the countries concerned, but we no longer hesitate as to whether we should go through the control as EU or NON-EU citizens. Although nation states still dominate people’s every­day life, migration within Europe has taken on other dimensions.
Following my question as to how artists experience living and working in two (or more) European countries today, in the summer and autumn of 2004 I carried out email interviews with Thierry Geoffroy (France-Denmark), Ron Haselden (England-France), Tanya Ury (England-Germany),
Anu Vahtra (Estonia-Norway), Dan Mihaltianu (Romania-Germany) and Maja Bajevic (Bosnia and Herzegovina-France).· 108 Web-cam photographs that I down loaded of the Finnish-Russian border show the traffic at five Nordic frontier checkpoints.’ Similarly, 71 footnotes entitled Europe: Putting pieces together assemble quotations from my collection of news items and give a cut-up insight into the debates of recent years. My sources were mainly daily and weekly newspapers and the Internet, particularly www.eurozine.com which brings together articles from different European magazines such as Le monde diplomatique, Index on Censorship, Mittelweg 36, Samtiden, Ord&Bild, du and Transit.