Past Exhibition

Border Country

Melanie Friend - 15 November to 11 January 2008

Domestic Visits Room, Harmondsworth Immigration Removal Centre, July 2006. (Detainees sit on the seats with the red chair backs; their visitors opposite)

Domestic Visits Room, Harmondsworth Immigration Removal Centre, July 2006. (Detainees sit on the seats with the red chair backs; their visitors opposite)

Detainees’ recreation area, Lindholme Immigration Removal Centre, April 2006

Detainees’ recreation area, Lindholme Immigration Removal Centre, April 2006

View of moat from Dover Immigration Removal Centre, August 2005

View of moat from Dover Immigration Removal Centre, August 2005

The Visitors’ Room, Tinsley House Immigration Removal Centre, April 2004. (The single chairs on the left are for detainees; visitors sit opposite)

The Visitors’ Room, Tinsley House Immigration Removal Centre, April 2004. (The single chairs on the left are for detainees; visitors sit opposite)

Related Publications

Exhibition & book launch event: Thursday 15 November, 7 – 9pm

Belfast Exposed Photography is privileged to present Border Country by Melanie Friend, an exhibition of medium-format photographs, with a sound installation of voiced testimonies of asylum seekers and migrants in detention in the UK. A publication of the work, with essays by Mark Durden, Alex Hall and Melanie Friend will also be launched at the opening event.

Melanie Friend began work on Border Country in 2003. Since then, more than 25,000 individuals per year have been held for some period in immigration detention in the UK. Immigration detainees in Northern Ireland had, until last year been held in Maghaberry and Hydebank Wood prisons. They are now automatically transferred to detention centres in Scotland and England.

Melanie Friend has photographed the visits rooms in eight Immigration Removal Centres (IRCs): Dover, Colnbrook and Harmondsworth (near Heathrow), Lindholme (near Doncaster), Tinsley House (near Gatwick), Campsfield House (near Oxford), Yarl’s Wood (near Bedford) and Haslar (near Portsmouth). She also obtained permission to photograph some landscapes. As a visitor she met asylum seekers and migrants in several IRCs, and was given special access to record interviews with male detainees in Dover, and female detainees in Yarl’s Wood. The exhibition and publication include voice recordings that evoke complex identities and the physical and psychological experience of life in detention.

The significance of a project like Border Country is that it literally ‘gives voice’ to a socially excluded, almost invisible group of people. In his essay, Mark Durden states ‘In Border Country, Friend gives us the voices of people without any home or belonging, trapped within an inhumane system they cannot fully understand. The act of listening to those caught waiting, uncertain of their future— deportation or asylum— breaks the silence and invisibility surrounding these centres and those who are kept inside.’

Alex Hall comments on how ‘immigration categorisations – distinctions between belonging and not belonging – constantly change and shift, and it is for this reason that detainees cannot be considered straightforwardly legal or illegal.’ She proposes that: ‘These are people who may be subject to processes which aim to take away their everyday visibility, their political presence and their ability to define their own lives, but they refuse to disappear. We are challenged to listen, and in listening, we must confront the arbitrary classifications between national citizen and other, between belonging and not belonging; we confront the effect of drawing a border. In this confrontation, we must reassess who has the right to comment, who has the right to a political presence, who has the right to be seen and heard.’

AUDIO EXTRACTS

Border Country includes a significant audio component. The complete sound track is supplied on disk with the publication and can be experienced as part of the exhibition.

Please click on the links below to listen to sound extracts.

Richard_ We didn’t commit any crime (2min 48secs)
http://www.belfastexposed.org/mp3/richard.mp3

Andrei_English use of the word ‘sorry’ (1min 19secs)
http://www.belfastexposed.org/mp3/andrei.mp3

Hamlaoui_Singing ‘Nights in White Satin’ (3mins 4secs)
http://www.belfastexposed.org/mp3/hamlaoui.mp3

Lillian_Who is more human than the other? (3mins 9secs)
http://www.belfastexposed.org/mp3/lillian.mp3

Afsham_describing attempted 'removal' from the UK
http://www.belfastexposed.org/mp3/afsham.mp3

Artist’s biography
Melanie Friend’s exhibition Homes and Gardens: Documenting the Invisible focused on repression in the ‘police state’ of Kosovo preceding the war. It opened at Camerawork in 1996, toured the UK, and was exhibited at the Houston Center for Photography, Texas in 1998. Friend’s sound/image installation The Guide focused on the immediate aftermath of the Kosovo war and in summer 2001 was shown together with a newly curated version of Homes and Gardens at the Hasselblad Center, Sweden. In autumn 2001 her book No Place like Home: Echoes from Kosovo was published by Midnight Editions, USA and was widely reviewed in the USA, UK and in Kosovo itself. She is Senior Lecturer (Photography) in the Department of Media and Film, School of Humanities, University of Sussex.

Writers' biographies
Mark Durden is Professor of Photography at Newport School of Art, Media and Design (University of Wales) and is also part of the artists’ group Common Culture.
Alex Hall is a researcher at the Department of Geography, University of Durham.

For further information or hi-resolution scans, please contact Rachael Wilson at on +44 (0)28 90230965 or

Border Country is supported by Belfast Exposed Photography, the Arts Council of Northern Ireland (ACNI), Esmée Fairbairn Foundation, Belfast City Council, Lloyds TSB, Northern Ireland Community Relations Council, the Arts and Humanities Research Council (AHRC), the Arts Council England (ACE), the Research Fund of the School of Humanities, University of Sussex, Fotonet, the University of Southampton, SCAN Media Arts Agency, Spectrum in Hove and Metro Imaging in London. The book includes an audio CD and is co-published by Belfast Exposed Photography and the Winchester Gallery.

Image captions:
1. Domestic Visits Room, Harmondsworth Immigration Removal Centre, July 2006 (Detainees sit on the seats with the red chair backs; their visitors opposite)

2. Detainees’ recreation area, Lindholme Immigration Removal Centre, April 2006

3. View of moat from Dover Immigration Removal Centre, August 2005

4. The Visitors’ Room, Tinsley House Immigration Removal Centre, April 2004 (The single chairs on the left are for detainees; visitors sit opposite)

All images © Melanie Friend

Links

Migrant Complaint Policy Shake up
http://news.bbc.co.uk/1/hi/uk_politics/7093726.stm

Review of Border Country by Chris Gilligan
http://www.culturewars.org.uk/2008-01/bordercountry.htm