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Present Borders in Border-Memory Land Berlin

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Present Borders in Border-Memory Land Berlin Present Borders in Border-Memoryland Berlin Contemporary in/visible b/ordering dynamics and creative border deconstruction in an urban space Katinka Schlette A plea to cherish Berlin's (still existing) charm For all who are open to look beneath the visible surface ‘The city must be a place of waste…everything mustn’t be foreseen and functional… the most beautiful cities were those where festivals were not planned in advance, but there was an open space where they could unfold’. (Lefebvre, 1987: 36) ‘Open spaces give Berlin certain charm. At the moment this charm is being overbuild’. (Seemann, interview 18 June 2017) Plate 1 (On cover) In/visible demarcation of the former Berlin Wall, BerlinKatinka Schlette - Present Borders Border-Memoryland Berlin Source: Schlette, 2017 III in Present Borders Border-Memoryland Berlin Contemporary in/visible b/ordering dynamics and creative border deconstruction in an urban space Present Borders in Border-Memoryland Berlin Katinka Schlette s4208307 The contemporary in/visible b/ordering dynamics and creative border deconstruction in an urban space Master thesis Human Geography Specialisation: ‘Europe: Governance, Borders and Identity’ Radboud University Nijmegen August 2017 Thesis supervisor Dr. Olivier Thomas Kramsch Second reviewer MCs & PhD Kolar Aparna contact: [email protected] website: presentbordersinbordermemorylandberlin.wordpress.com © Katinka Schlette 2017 This material may not be reproduced, displayed, modified or distributed without the express prior written permission of the author Katinka Schlette - Present Borders Border-Memoryland Berlin V Preface “Jeder Mensch ist ein Künstler” - Joseph Beuys “Every human being is an artist […]”, is what Joseph Beuys asserted in 19721, “[…] a freedom being, called to participate in transforming and reshaping the conditions, thinking and structures that shape and inform our lives”. According to Beuys, artist and theorist known in the 60s for emphasising art’s role in shaping society and politics, art can arise from everything – not sooner from painting than from mechanical engineering, cooking or being a doctor. I have come across Beuys’ name at times before in my life, because my father would passionately speak of him or because he is not far from the place where I was born myself. At times of carrying out this master’s research project, it found its way back to me again when my supervisor Dr. Olivier Kramsch cited Beuys’ words in a cross-border Skype- conversation. Whilst conducting my fieldwork in Berlin for this master’s project around b/ordering dynamics and creative practices I gradually discovered that what I encountered corresponds to a great extend with Beuys’ statement. When reading this thesis you might get a glimpse of what I mean. During the process of writing it, I hope to have become, as Beuys would probably have said, a writing artist, attempting to express my thoughts about borders - what they can be and how they can work - with black ink on white paper. Albeit it took me quite a while to define the actual time, location and space of this research project, the border as overarching theme was there from the start. It was even there long before the start of this master’s, when I crossed the border between two countries twice every day during my childhood or when I was challenged by personal borders which I have now overcome. In many senses, thus, having written this thesis has a meaning to me. Without the help of many people I could not have done so, which is why I want to thank them all for their time and their patience. At first I want to heartily thank my supervisor Dr. Olivier Kramsch, who taught me that our writing always grows and evolves because our thinking is alive – something that I will always remember. But of course also Dr. Henrik Lebuhn and professor Michiel Lippus for their advice, all City Locality Centre coordinators, all creatives; Georg Klein, Lisa Glauer, Birgit Auf der Lauer and Casper Pauli, Katja Aβmann, Charlotte Danoy Kent, Klara Teigler, Larissa Hermanns, Barbara Caveng, Alice Romoli, Cordula Bienstein, Eva-Luise Volkmann, Hanne Klaas, Pablo Hermann and, all participants of projects I worked with, but especially Marta Lodola for the fruitful collaboration. Also, I want to heartily thank my parents, my grandparents, my siblings, my newly encountered Berlin friends and my friends at home for inspiring me, asking me critical questions, reading my texts and believing in me throughout the whole process. Thank you. And now, I hope you will enjoy the read. 1 During his talk at Documenta 5 in Kassel, Germany Katinka Schlette - Present Borders Border-Memoryland Berlin VII Abstract Most attention in Berlin goes out either to its history of division between East and West Berlin, or to its diverse, exiting and ´hip´ centre, where ´everything is possible´. Berlins is often presented as ‘the capital of freedom’, a representation wherein the the supposed freedom of today – ‘in all areas and at all levels’ – is opposed to the city’s divided past. When looking closer however, various bordering and ordering dynamics are present on the stage of urban space Berlin. These borders are not as physically present as the past Berlin Wall, but rather they are intervowen into different levels of life in the city, affecting mostly those people that have been living there the longest and those that do not possess much money or the ‘right’ citizenship. Given their invisible nature, it is not only challenging to put a finger on these present b/ordering dynamics and to show their hierarchical, categorical and excluding consequences. Also identifying the various working mechanisms that create, facilitate, sustain or even exacerbate them, asks for a look behind Berlin’s stage into particular policy instruments and strategies, regulations and rhetoric. This research deals with the multiple present b/ordering dynamics and their working mechanisms in Berlin. Furthermore, it explores creative forms of border deconstruction that can contribute to ´put a finger´ and deal with these complex interwoven dynamics and mechanisms in yet another manner. It does not seek to find precise numbers, but rather it presents stories, opinions and experiences deriving from various places of the city. Used for this aim is a mix of qualitative research methods: ethnographic flâneries, interviews with City Locality Coordinators and various creatives, participations in creative projects, analysations of official Berlin documents and the city website, observations and photography. The idea is adopted that one should no longer understand the border as a static clear-cut line, but rather as a dynamic process and as a verb; bordering. A process that needs certain symbolisations and imaginations in order to function and have a meaning. By looking at the city as a whole through a border lens, this research provides a unique insight into how developments taking place in different parts of urban space Berlin relate to each other and how various phenomena that are generally studied apart interact, collide and cohere. Rather than zooming into one specific place of phenomenon, it thus offers a look on ´the bigger picture´. Thereby, it sheds light on those developments and dynamics that should gain more attention, because they rather invisibly border and order the various areas and actors on the stage of urban space Berlin today. Katinka Schlette - Present Borders Border-Memoryland Berlin IX List of Abbreviations BAMF Bundesamt für Migration und Flüchtlinge (English: Federal Office for Migration and Refugees) BWT Berlin Wall Trail (German: Berliner Mauerweg) BENN Berlin Entwickelt Neue Nachtbarschaften (English: Berlin Develops New Neighborhoods) LAF Landesamt für Flüchtlingsangelegenheiten (English: National Office for Refugee Affairs) MIS Masterplan für Integration und Sichterheit (English: Masterplan for Integration and Security) MSD Migrationsozialdienst (English: Migration Social Service) MUF Modulare Unterkunft für Flüchtlinge (English: Modular Accommodation for Refugees) OKK Organ kritische Kunst (English: Organ of Critical Arts) STZ Stadtteilzentrum (English: City Locality Center) CLC City Locality Coordinator (German: StadtteilkoordinatorIn) QM Quartiersmanagement (English: Quarter Management) ZKR Zentrum für Kunst und öffentlichen Raum (English: Centre for Art and Public Space) ZK/U Zentrum für Kunst und Urbanistik (English: Centre for Art and Urbanistics) Table of Contents Preface .................................................................................................................................................. VII Abstract ................................................................................................................................................. IX List of Abbreviations .............................................................................................................................. X List of Plates ....................................................................................................................................... XIV 1 Introduction ....................................................................................................................................... 1 1.1 Researching contemporary borders and creative action in urban space Berlin ....................... 1 1.2 Research objectives and questions .......................................................................................... 3 1.3 Scientific relevance ................................................................................................................
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