https://borderland.network borderland Wed, 17 Nov 2021 17:30:32 +0000 https://borderland.network en http://borderland.network/satureja Wed, 17 Nov 2021 17:30:32 +0000 borderland 415141 Summer savory, Satureja hortensis, are part of a group of aromatic flowers, the Satureja themselves part of the Lamiaceae family. It is used in Quebec cuisine to flavour dressing known as cretonnade that is eaten with goose, duck or turkey and by Acadian cuisine in the fricot. It is also a key ingredient of the herbes de provence herbs mix and is widely used in Bulgarian and Romanian cuisine too, for instance for the sarmale, a dish made of stuffed grape leaves. Related to rosemary and thyme, the saturejagenus is native to North Africa, the Middle East and Central Asia. These organic seeds have been germinated in Angers, France. You should sow them in bed seeds indoor, or outdoor, in April or May about 50cm apart. Once they have reached a height of 20cm, you should plant them out in a dry, sunny area and water them regularly if needed. Harvesting can happen throughout the year. Summer savory, Satureja hortensis, are part of a group of aromatic flowers, the Satureja themselves part of the Lamiaceae family. It is used in Quebec cuisine to... http://borderland.network/lovage Wed, 17 Nov 2021 17:30:03 +0000 borderland 415140 Lovage, Levisticum officinale, is a tall perennial plant from the family of Apiaceae that is mostly made of aromatic flowering plants. It grows naturally in the Alpes, the Pyrénées, mountains of Central Europe and Caucasia. Widely used in cuisine up until the 20th century before being slowly forgotten, it is now coming back in fashion. It is widely used in Romanian and Bulgarian cuisine, especially with lamp. The stem, leaves, flowers and seeds have a pungent smell that some associate to celery and even to meat substitute ‘Maggi’ — hence its nickname of Herbe à Maggi (Maggi’s Herb) in French-speaking Switzerland and France. The origins of the plants are disputed, some say it is native to southwestern Asia and Europe, others to Iran and Afghanistan. These organic seeds have been germinated in Angers, France. You should sow them indoor in a bed seeds in April or May, or wait for August if you’re planning to do this outdoor in a fresh and moist soil. You should drop four or five seeds every 50cm. Plant out when they reach about 15cm and thin out every 20cm. And when then simply help yourself with leaves when you need some. Lovage, Levisticum officinale, is a tall perennial plant from the family of Apiaceae that is mostly made of aromatic flowering plants. It grows naturally in the... http://borderland.network/anise Wed, 17 Nov 2021 17:29:24 +0000 borderland 415139 Anise, Pimpinella anisum, is a flowering plant native to Southwest Asia and the eastern Mediterranean region. Its flavour and aroma are close to those of liquorice and fennel. It is cultivated widely and is especially present in Mediterranean cuisines, as well as to flavour drinks and food. Amongst those use, liquors might be the most popular — from ouzo in Greece to sambuca in Italie, absinthe and pastis in France, and then there are arak, raki but also Colombian aguardiente. Pimpinella anisum is part of the Apriaceae family that is mostly made of aromatic flowering plants. Anise has been cultivated in Egypt for four millennia and has been imported to Europe as a medicinal plant in the Middle Ages. These organic seeds have been germinated in Angers, France. Anise requires warm soil, but can be planted in the north of Europe too, if the soil is well exposed to the Sun. You should directly sow the seed in the soil, preferably from April to May in rows 30cm apart. Clear the seedlings after two weeks, when they reach a height of 15cm to 20cm. Harvest the seeds before they reach their full ripeness to use them in cooking for instance. Anise, Pimpinella anisum, is a flowering plant native to Southwest Asia and the eastern Mediterranean region. Its flavour and aroma are close to those of liquorice... http://borderland.network/your-order Mon, 17 May 2021 13:37:16 +0000 borderland 405540 Thank you for purchasing one of our Welcome to Borderland postcard.  Your postcard will be shipped in late November 2021. We will be back in touch earlier the same month to confirm your shipping address.  Thank you for purchasing one of our Welcome to Borderland postcard.  Your postcard will be shipped in late November 2021. We will be back in touch earlier the... http://borderland.network/thank-you Tue, 11 May 2021 13:40:47 +0000 borderland 405160 Thank you for subscribing to our newsletter. You can unsubscribe at anytime.  Thank you for subscribing to our newsletter. You can unsubscribe at anytime.  http://borderland.network/library Tue, 27 Apr 2021 16:58:30 +0000 borderland 404200 Clément, Gilles. 2002. Éloge Des Vagabondes. Paris: Nil. Coccia, Emanuele. 2020. Métamorphoses. Paris: Éditions Payot & Rivages. Gandy, Matthew. 2017. Natura Urbana: The Brachen of Berlin. Gandy, Matthew, and Sandra Jasper, eds. 2020. The Botanical City. Berlin: Jovis. Lambert, Léopold, ed. 2021. Decolonial Ecologies. The Funambulist. Paris: The Funambulist. Orlow, Uriel, and Sheila Sheikh. 2018. Theatrum Botanicum. Berlin: Sternberg Press. Tsing, Anna Lowenhaupt. 2017. The Mushroom at the End of the World. Princeton, N.J: Princeton University Press. Clément, Gilles. 2002. Éloge Des Vagabondes. Paris: Nil. Coccia, Emanuele. 2020. Métamorphoses. Paris: Éditions Payot & Rivages. Gandy, Matthew.... http://borderland.network/essay Tue, 27 Apr 2021 16:28:56 +0000 borderland 404199 →  Scarica in italiano (PDF) →  Download in English (PDF) The space we live in is one of friction, of hybridity and entanglements. Anthropologist Anna Tsing writes “Everyone carries a history of contamination; purity is not an option.”[1] More than any other beings or artefacts, plants allow us to enrich our understanding of the complexity of space and time. “Plantlife is a geological layer of the earth.” Once wrote botanist Léon Croizat [2]. Plants migrate, they form networks, they are part of international postcolonial supply chains.[3] Scientists have even nicknamed the mycorrhizal networks — these underground networks that ensure the balanced transfers of water, carbon, and nitrogen between plants — the wood wide web. We live in a planetary borderland. A space of flows, where sprawling infrastructures of communication are “connecting people” while at the same time always more fences, always more militarised walls are erected to forbid trespassing. We live in a global integrated economy, feeding and fed by segregated sociospatial archipelagos. Plants and mushrooms show us the way, they teach us how to trespass, how to flow, how to thrive. In her book The Mushroom at the End of the World, Anna Tsing follows matsutake, the most expensive mushroom in the world. In doing so, she links the industrial forests of Oregon to Japanese palates. Its popularity in Japan, its emergence and rarefaction, is interwoven with several temporal layers of colonisation, transferred nostalgia, and industrialisation. Matsutake grow in our ruins. These “wild” mushrooms can only exist in forests that humankind exploited and then abandoned. Matsutake are “wild” because no one knows how to “cultivate” them, but they can only exist in the aftermath of humanity. In his study of Berlin Brachen, geographer Matthew Gandy also engages with that aspect of “ruins”. [4] Ruins and borders. Brachen are urban spaces left “fallow” by the destruction of the second world war and its chaotic aftermath that led to a city divided between East and West. The Brachen are an assemblage of varied interconnected narratives: historical, cultural, botanical, architectural. They might look empty, or even ugly to some, but they host an immense variety of lifeforms. They are rich, and the stories these plants tell are that of Berlin and Berliners. Salsola collina for instance, is a small shrub that arrived in Berlin at the end of world war two with the second Ukrainian army whose panje wagon carried hay and animal feed for their horses. As the hay was laid out for the animals, Salsola collina “escaped”. In the following years, it thrived in the Brachen around Ernst-Reuter-Platz. There is also Senecio inæquidens, narrow-leaved ragwort, which came to Germany with wool shipments from South Africa. It spread along the Rhine and arrived in West Germany and then East Berlin about 20 years ago. These Berlin biotopes are especially diverse on their edges, as they connect with one another — from parks to Brachen, streets to railway tracks. The boundary is a place of exchange, of communication and hybridisation. It is a place of thriving life. Those spaces around us, that we categorise too quickly as “natural”, or “urbanised” are the results of a myriad of entanglements, migrations, conflicts, meetings. Plants and their study bear striking and painful similarities to discourses on humankind and migration. The taxonomy and the semantic choices reveal deeply encrusted narratives on what is pure, contaminated, native, indigenous, invasive. For instance, all plants that have arrived in Europe after 1500 are considered neophytes, or non indigenous. As Susanne Hauser explains [5]: We are dealing with an ideologically marked terrain. The identification of plants and people who are welcome. And the opposite […] those not welcome. There are simple yet persistent metaphors and it’s a difficult, difficult terrain. […] There is an earlier expression coined in the 1920s that is not so politically charged and that I prefer: “adventive plants”. Plants that arrive. As they became in or out of fashion, certain plants species have been welcomed, cherished and then discarded, qualified and requalified. This is for instance the case of Japanese knotweed, Reynoutria japonica, an “invasive species” in the United Kingdom for instance, that grows through asphalt, where other plants cannot go, most especially in the crevices of buildings and along train tracks. [6] Yet in 1847, it received a Gold Medal from the Society of Agriculture and Horticulture of Utrecht, in the Netherlands as the most interesting new ornamental plant of the year. Humankind and flora are engaged in an intimate and complex relationship. The scale of plants and mushrooms migration is varied and escapes our established well-identified patterns. By understanding and admiring plants, their capacity for survival, their relation to space and architecture, their “contaminated diversity” that is at the same time “ugly and humbling”[7] we find inspiring leads to, perhaps, answer the question: How will we live together? Justinien Tribillon April 2021 [1] Anna Lowenhaupt Tsing, The Mushroom at the End of the World (Princeton, N.J: Princeton University Press, 2017), 27. [2] Léon Croizat, Space, Time, Form: The Biological Synthesis (Caracas, Venezuela: N.V. Drukkerij Salland, 1962), 90; cited in Nigel Clark, ‘Urban Granaries, Planetary Thresholds’, in The Botanical City, ed. Matthew Gandy and Sandra Jasper (Berlin: Jovis, 2020),34. [3] Susanne Freidberg, French Beans and Food Scares: Culture and Commerce in an Anxious Age (New York, N.Y: Oxford University Press, 2004). [4] Matthew Gandy, Natura Urbana: The Brachen of Berlin, 2017. [5] Gandy, Natura Urbana, 33'05''. [6] Livia Cahn, ‘Rhizome City: Tracing Knotweed through the Soild of Brussels’, in The Botanical City, ed. Matthew Gandy and Sandra Jasper (Berlin: Jovis, 2020), 185–95. [7] Tsing, The Mushroom at the End of the World, 33. →  Scarica in italiano (PDF) →  Download in English (PDF) The space we live in is one of friction, of hybridity and entanglements. Anthropologist... http://borderland.network/colophon Tue, 27 Apr 2021 16:28:43 +0000 borderland 404198 Curation Justinien Tribillon Scenography Cécile Trémolières Illustrations Offshore Studio (Isabel Seiffert and Christoph Miler) Narrator and sound design Pedro Escobar Scenography and architecture consultants Caroline Fodor, Adrien Coste, Misia Forlen Printing Niedermann, St. Gallen Sponsors The Bartlett Faculty of the Built Environment and Migrant Journal ⅋ A press file is available to download here, and photographs of the installation can be downloaded here. For all enquiries regarding the project, please write to borderland [at] tribillon.com. You can also sign up below to receive the project’s newsletter. email first name last name ⅋ With thanks to Hashim Sarkis, Ala Tannir, Roi Salguero, Gabriel Kozlowski, Gerardo Ernesto Cejas, Valentina Malossi, Luigi Ricciari, Lisa Fernand, Jacqueline Nelson, Christoph Lindner, Samina Miah, Sian Lunt, Susie Emmett, Claire Colomb, Bob Sheil, Claudio De Magalhaes, Baptiste Léonard, Juliette Cheval, Sébastien Nicot, Nicola Russo. The font used on this website is Faune, designed by Alice Savoie and commissioned by the Cnap. The website is designed by Justinien Tribillon on Persona.co. Curation Justinien Tribillon Scenography Cécile Trémolières Illustrations Offshore Studio (Isabel Seiffert and Christoph Miler) Narrator and sound design... http://borderland.network/order Tue, 27 Apr 2021 16:28:23 +0000 borderland 404197 A mixed-media installation part of the Venice Biennale of Architecture 2021, Welcome to Borderland was also a hybrid performance where those who could not come to Italy could order elements of the exhibition for a sum of 6€, that contributed to the funding of the project. In November 2021, when it was time to take down the exhibition, the curator tore down the works displayed into postcards and sent it from Venice, together with seeds to plant wherever you are. This symbolic gesture was an homage to plant migrations and their hybridity. It was also a way to share the spirit of the architecture biennale beyond the physical grounds of its Venice home. This aspect of the project has now come to an end, and it is not possible to place an order anymore. A mixed-media installation part of the Venice Biennale of Architecture 2021, Welcome to Borderland was also a hybrid performance where those who could not come... http://borderland.network/home Mon, 17 Aug 2015 23:34:03 +0000 borderland 403776 Welcome to BorderlandBiennale Architettura 2021 Welcome to Borderland explores the reality of border away from the geographical lines that define it via the prism of plants. A critical take on botany, identity and space enables us to explore a tension, a nexus of architectures, social constructions, imaginaries, objects and discourses. Plants are invasive, wild, indigenous, naturalised. Plants have IDs, they follow rules. Yet more often than not, they flout them, they crack the walls. In all plants and in their behaviours, we find traces of the border away from the border, the contradictions of flows and fences. In the space they create, we recognise the segregated sociospatial archipelagos that, together, make our planetary borderland. Welcome to Borderland was a mixed-media installation that answered the theme set out by Hashim Sarkis for the Venice Biennale of Architecture 2021: How will we live together? Displayed in the Central Pavilion, Giardini from 22 May-21 November 2021, it was also a hybrid performance where those who could not come to Italy could order elements of the exhibition to receive at home. In November 2021, when it was time to take down the exhibition, the curator tore down the works displayed into postcards and sent it from Venice, together with seeds to plant wherever you are.  ⅋ The project is curated by Justinien Tribillon in collaboration with Cécile Trémolières, Offshore Studio (Isabel Seiffert and Christoph Miler), Caroline Fodor, Adrien Coste, Pedro Escobar and Misia Forlen. It has received the generous support of The Bartlett Faculty of the Built Environment and Migrant Journal.  Welcome to BorderlandBiennale Architettura 2021 Welcome to Borderland explores the reality of border away from the geographical lines that...