CROSSING BORDERS / CROSSING BOUNDARIES

Merijn’s five globes show us the development from a basic binary of black and white to a densely coloured, intricate space. The final image thus shows us a planet in which everything is harmonized.

The installation brings together the multiple histories of the today eponymous “space blankets” — from their primary usage by NASA to their use by refugees on the borders of Europe.

The Russian and the American artists play with the sacrality of the national symbols, mocking the stereotypes about each other.

For this work, Jazoo Yang has used traditional Korean ink and just her thumbprint (which is a marking used as a signature on important documents).

With the classic symbol of borders, the common doorway, the work explores the abilities of these structures: as one door opens, another closes, enabling some and disabling others in the same moment.

Nano’s characters can often be seen to be in states of tension or strain (both literally and metaphorically), an angst reinforced by their compressed captivity within their sites.

This work is about revealing and concealing, possibility and difficulty; once people enter the space, they can either feel locked up or protected and safe within its embrace.

Minelli's mural speaks, quite loudly, for itself.

Minelli presents a series of WhatsApp conversations documenting his personal struggle to gain entry into Russia for this exhibition.

Exploring the violent so central to the contemporary city, Yang wants to ask how much we perceive our lives and make independent decisions within these oppressive environments.

SpY’s works do not simply invert or subvert their spaces but playfully distort them: by his own words, it's “disorder and chaos through context and content”.

SpY's giant work Go Home, at first an apparently aggressive phrase, plays with the variety of meanings that this expression can contain: for instance, the very ability to go home.

This installation connects the land issue of Jakarta with the human waste that plagues the ocean and the future of the traditional fishermen who live and work within this now perilous space.

For the artist, the inversion of the fence makes it something lighter, not an object that prevents our movement, but a compact object that can be upended “as if the wind had blown it upside down”.

The images presented by the photographer were taken in August 2015 in the Greek island of Kos, which is one of the key landing points for refugees crossing into Europe from different countries.

By Valerio Vincenzo: “Since the Schengen Agreements in 1985, the borders of most of the European continent have been erased from the landscapes and people’s imaginations. What is a border anyway?”

Text by Rob Pinney: “As the main point of departure for travel to Britain, the town of Calais in northern France has become a ‘hotspot’ for asylum seekers hoping to build a new life in the UK“.

These images not only give voice to the voiceless but also identity to the unidentified. In this way, the dead may once more help the living.

This project tries to imagine how the Street Art Museum would look like if it was more traditional. Kuril Chto team has collected all objects used by the artists during the production in one space.