Sound installation / loop / Tube 190 x 80cm / Speaker / 2018

Exhibition view, Höhenrausch - Das andere Ufer - OK (Offenes Kulturhaus), Linz (Austria) 2018

Concept & Realisation: Julien Segarra
Music: Lurch Effekt
Quote: Frontex Risk Analysis Report 2018
Translation: Helena Segarra
Voices: Neave Hanlon, Julien Segarra
Field Recording: Malta 2018

Tube Original Design: Leo Schatzl

Exhibition view, Höhenrausch - Das andere Ufer - OK (Offenes Kulturhaus), Linz (Austria) 2018

Route Terre is a sound installation that deals with the field of ­tension that sets apart the Mediterranean sea. It confronts personal ­childhood memories with European border policy and militarization. Short ­anecdotes of childlike perceptions alternate with excerpts from the Risk Analysis Report 2018 of Frontex, the European ­Border and Coast Guard Agency. In combining different materials, such as field ­recordings on the Maltese coast, known for its restrictive refugee policies, improvised sound compositions and voices, these ­different ­perspectives juxtapose. The entanglement of these perspectives is product of our complex relationship with the Mediterranean sea, a space of liquid boundaries and a symbol of naive freedom. Questioning how we, as European citizens, position ourselves within this tension.

a. memories
b. Frontex Risk Analysis Report 2018

Als Kind habe ich mit dem Meer gesprochen. Ich habe versucht Wörter von Grollen zu unterscheiden. Verstand das Kräuseln der Wellen, wie Unebenheiten, die den Wind ankündigen, der sich an unserem Gespräch beteiligte.
b. The year 2017, the first full year for Frontex as the European Border and Coast Guard Agency, saw a significant fall in the detections of illegal border-crossing along the EU’s external borders.

Die Freude mit dem Meer zu spielen füllte mich ganz aus. Von Kopf bis Fuß euphorisch.
b. Nevertheless, the overall pressure on Europe’s external borders remained relatively high, and the Western Mediterranean route saw the highest number of irregular migrants since Frontex began systematically collecting data in 2009.


Ich saß am Strand und schaute ins Meer hinaus. Wir saßen uns gegenüber. Die Wellen tanzten. Das meinte Ferien und das ewige suchen nach Schatten.
b. Swift diversification of modi operandi, displacement between routes or border types, and attempts to evade detection or identification are all likely to occur in response to enhanced surveillance and migration control.

Ich hatte immer Angst vor dem Meer. Es berührt die Existenz durch die Weite. Ich konnte nicht gut schwimmen. Das hieß in kindlicher Erregung Nähe und Distanz ausloten.
b. Border management will increasingly be risk-based, to ensure that interventions are focused on the movements of high-risk individuals, while movements of bona fide travelers are facilitated smoothly.

Das Meer war wie ein hinterlistiger Freund, der dir beim Spielen die Badehose mit Sand füllt und dir den Kopf verdreht. Niemals hätte ich ihm das vorgeworfen.
b. The number of irregular migrants detected on the Central Mediterranean route at the beginning of 2017 roughly mirrored that seen at the beginning of 2016, with fluctuations very much dependent on weather conditions in the winter months.

Das Meer war der Geschmack, den der Wind auf meiner Zunge hinterließ. Es war rauschender Klang, der meinen Körper schüttelte. Mit den Füßen unter Wasser, wie zugedeckt, habe ich den Sand mit den Fingerspitzen nach Ensis Ensis Muscheln abgesucht.
b. In the latter part of the year, the observed increased usage of rubber dinghies east of the Strait of Gibraltar – used by sub-Saharan migrants – suggests increased activity of people smuggling networks, as the dinghies and the required engines are unlikely to have been procured by the (mostly sub-Saharan) migrants themselves.


Ich frage mich, wie viele Schlösser hat es mir genommen. Und wie viele Wettläufe habe ich an es verloren.
b. The external border dimension is a geographical filter where Member States can take actions, enforce the rule of law and pursue prosecutorial or judicial actions.

Julien Segarra


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© Obsolet, all rights reserved
© Anele Rages, all rights reserved
© Helena Segarra, all rights reserved
© Julien Segarra, all rights reserved


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