Fences on the border between Ceuta and Melilla 1985-2014
Series of intervened 12 engravings, 44 x 64cm each Courtesy of the artists.
This work appropriates a series of facsimile prints from the Atlas of the African War, dated between 1859 and 1860 and belonging to the Army Geographical Service.
Over these panoramic landscape drawings are superimposed images of the fences currently separating the Spanish and Moroccan territories: by making use of the blue and yellow corporate colours that represent the European Union, the artists have introduced various architectural models for the surveillance systems of the fences in Ceuta and Melilla, drawn from press and police archives.
Both the romantic depictions of the war in Africa and the infographics about borders disseminated in the media are considered as objective and neutral images; in both cases they act as disaffected graphic representation systems that justify state violence:
“Thus, C.A.S.I.T.A has transformed an atlas of engravings from the 19th century into a polysemic hybrid of imposible perspectives in coexistence with the images of the border fences.
The dates of the title speak of the reality generated following Spain’s entry into the EU:
1985 marks the entry of Spain into the European Union and the beginning of the progressive socio-economic transformation of the country, accompanied by a tightening of migration and border controls on becoming the first line of entry into the European stronghold.
2014 was, in its first half alone, one of the most contentious moments of the tension between migrants and the police of several states and has given rise to some of the most appalling images of the lack of implementation of the most basic human rights.”