Artist-in-Residence | Francisco Gallardo and Audrey Samson (FRAUD): €uro-Vision

Phosphate mine transport trail seen from satellite imagery, UN Security Council and Dacia speedometer (assembled in FTZ). 3D Graphics by Terrell Davis; image courtesy FRAUD
Stills from interview with Nlend Fils Vermont, General Secretary, Collectif des Communautés Subsahariennes au Maroc (CCSM); courtesy FRAUD
Stills from the interview with Hassan Bentaleb, journalist at La Libération; courtesy FRAUD
Phosphate mine conveyor belt, the longest in the world (100km); courtesy FRAUD
€uro-Vision; courtesy FRAUD

Part of Arts Catalyst’s strand of programme Extractable Matters, artist duo FRAUD (Francisco Gallardo and Audrey Samson) present €uro-Vision, a residency and a public programme taking place between October and December 2019.

Borders are the new frontiers. From Europe's 19th century agricultural efforts to resurrect North Africa as the Granary of Rome, postwar CFA franc* currencies, and more contemporary Free Trade and Partnership Agreements, borders echo European colonial legacies through resource extraction, migration policies, monetary systems, and surveillance technologies. North Africa, and Morocco more specifically, was the first border of the European Economic Community (predecessor of the EU) after Spain's 1986 first Aliens Law. This Eurafrican border is the most technologically advanced and profitable of all.
€uro-Vision critically explores the extractivist gaze of the EU’s migration policy by examining the terraforming liaisons between extraction, monstrification and border circumscription, exemplified in phosphate mining in Western Sahara and the Free Trade Zone of Tanger-Med. This is particularly relevant at a time when projected free trade (namely with the United States) is lauded as the saviour to a post Brexit ‘immigrant free’ England. The later exemplifies the dominant discourse which posits free trade (cheap labour elsewhere) as a solution to the monstrous ‘other’ leaking through the borders. 
Through art-led inquiry involving field work, software study, archival, ethnographic and forensic research into flows of bodies, goods, bads, and information through these technologies, €uro-Vision explores the geopolitical, aesthetic and technosocial constructions of the EU in the Sea of Alboran and the Gibraltar Strait area. 
€uro-Vision, expands upon artistic research conducted in 2018 with seed funding from the Cultural Institute of King’s College London  and is currently developed in partnership with RADAR, Loughborough. 
The residency and accompanying programme is supported by Acción Cultural Española (AC/E) and Arts Council England. 
* CFA franc stands for franc de la Communauté Financière Africaine [African Financial Community franc]
FRAUD (Audrey Samson + Francisco Gallardo) is a UK-based métis duo of artist/researchers working within the domain of critical technical practice, currently residents at the Somerset House Studios. FRAUD develops modes of art-led enquiry that examine the inscriptive operations of extractive, analytic and financial systems. Audrey (b. Canada) is joint-head of the Digital Arts Computing BSc and a lecturer in Critical Studies in the Art Department at Goldsmiths. The duo has been awarded the State of Lower Saxony – HBK Braunschweig Fellowship (2019-20), the King’s College Cultural Institute Grant (2018), and has been commissioned by the Cockayne Foundation (2018). Francisco (b. Spain) recently completed a PhD at the School of Geography at Queen Mary, University of London, he was awarded the Wellcome Trust People Awards (2016) and co-authored ‘Talking Dirty’ published by Arts Catalyst (2016). FRAUD's recent work includes: 'Carbon Derivatives' that has been namely presented at the Salon Suisse (the 57th Venice Biennale), the Whitechapel Gallery (2018) and the Somerset House (2018); 'Shrimping Under Working Conditions' which was shown at Kunsthall Trondheim (2017) and the 'Empire Remains Shop' in London (2016); and 'Goodnight Sweetheart / the Right to Happiness' which was exhibited at the Asia Culture Center in Gwangju (2019), and has been featured in ‘Behind the Smart World’, Radio Canada, and Asia Art Pacific.