Visual Arts


- Andrew Brownsword Gallery

The Andrew Brownsword Gallery at The Edge, University of Bath is pleased to be showing Borderlines, curated by Tessa Giblin, Director of Talbot Rice Gallery, University of Edinburgh.


Very thought-provoking and interesting. I hadn’t thought of the role of art in international politics and economics before today.

Borderlines gives form to the conceptual, geo-political, economic and cultural impacts of borders. It draws attention to the ownership of the earth beneath our feet, the UK border in Ireland, tribal territories, anarchic polar exploration and the world-wide distribution of natural resources. Conceived to coincide with the UK’s scheduled exit from the EU, Borderlines offers imaginative ways of representing and thinking about frontiers, at a time when very real borders between the UK and Europe are being proposed.

The exhibition includes works from Lonnie van Brummelen & Siebren de Haan, Willie Doherty, Ruth E Lyons, Amalia Pica, Khvay Samnang, Santiago Sierra, Mona Vatamanu & Florin Tudor.

Tue – Sat, 11am-5pm
FREE ADMISSION  ·  Everyone is welcome

Read the exhibition catalogue for more information.

Header image: Detail of film still Revolt of the Giants, Van Brummelen & De Haan, 2008

Image carousel:  Photographs © Paul Blakemore

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A Walk for Truth and Reconciliation with Richard White

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Film Screening: Episode of the Sea

Follow the fortunes of the Urk (Dutch) fishing community: from the large-scale land works to their current struggles within the EU and global market place.

Previews & Talks

Perspective Tour with Dr Emma Carmel

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In these tours we invite experts in connected fields to bring their unique perspectives to Borderlines.

Exhibiting Artists

Lonnie van Brummelen & Siebren de Haan have three works in the exhibition.

Monument to Another Man’s Fatherland reflects on the story of the Pergamon Altar. It contextualises the extraordinary frieze (now in the Pergamon Museum in Berlin), with the plight of Turkish migrants hoping to enter the EU, just as the repatriation of the Parthenon (Elgin) marbles reappear in public debate as a result of the Brexit negotiations. The work is accompanied by two teaching casts, reproductions of 480-430 BC Parthenon Marbles, from Edinburgh College of Art.

Monument of Sugar – how to use artistic means to elude trade barriers features blocks of sugar shown alongside the complex story of the artists’ attempt to trace European sugar exported to Africa and then evade trade tariffs by re-importing it back to Europe as an artistic ‘monument’.

Monument of Sugar – how to use artistic means to elude trade barriers, 2007
Photograph courtesy of Talbot Rice Gallery


Film work, Episode of the Sea is particularly poignant in the context of the Brexit campaign’s close alignment with the UK fisheries, charts the rise and fall of the Urk (Dutch) fishing community after the inland sea they traditionally fished was dammed to create land for development.

Ruth E Lyons evokes an ancient sea with salt bowls carved from salt mined from a deposit that dates back millions of years to the Zechstein Sea; this salt deposit stretches from Ireland to Poland, impervious to the nation-states now crowding the top soil.

Salarium (230 million BCE-ongoing)
Photograph courtesy of Talbot Rice Gallery

Turner-Prize nominated Willie Doherty reflects on the border where Ireland and Northern Ireland meet, between Derry and Donegal, meditating on the dramatic impact that Brexit might have on otherwise unremarkable points on the road, haunted by memories of the militarised border in place before the Good Friday Agreement.

Between (Where the Roads Between Derry and Donegal Cross The Border), 2019
Photograph courtesy of Talbot Rice Gallery

Amalia Pica makes images from the stamps she has collected as she encountered the bureaucracy surrounding international mobility and citizenship acquisition, while Khvay Samnang interprets his understanding of the Chong people’s embodied knowledge of the land and its regions, recreating movements through collaboration with a dancer used to define tribal territories in Cambodia.

Amalia Pica, Joy in Paperwork, 2016
Photograph by Paul Blakemore for The Edge, University of Bath


Khvay Samnang, Preah Kunlong (The way of the spirit), 2017
Photograph courtesy of Talbot Rice Gallery

Mona Vatamanu & Florin Tudor show the globe as a patchwork of dominant resources – industries, minerals or labour – and finally, Santiago Sierra places the anarchist flag at the North and South Poles.

Mona Vatamanu & Florin Tudor, Le monde et les choses, 2014
Photograph courtesy of Talbot Rice Gallery


Santiago Sierra, Black Flag, 2015
Photograph courtesy of Talbot Rice Gallery