
Borderline Conditions
Self-organized pop-up exhibition/ April 5—16, 2017/ MERES multifunctional space, Nicosia, Cyprus
The Borderline Conditions project departs from a fundamental contradiction of our time: the borderless world promised by globalization is beginning to reveal itself as a myth. Borders are starting to tighten. It is becoming clear that soon class and national divisions will begin to determine access to mobility, to the future, and to freedom itself.
The exhibition emerged from an observation of this fracture—one that runs not only between states and civilizations but also within societies. Of particular significance to the project is the dramatic history of Cyprus, a place where the border between the Greek and Turkish communities cuts through its capital, making division a lived, everyday reality. The exhibition is situated in a space located directly adjacent to the buffer zone, rendering the theme of the border not merely a metaphor but an immediate physical given.
At the same time, the title Borderline Conditions refers to an extreme mental and bodily state on the threshold between neurosis and schizophrenia—a state that metaphorically describes contemporary reality. The key question is how healing might be possible, and where the sources of unity can be found.
The Exhibition is organized by:
Ilina Chervonnaya
Maria Stepkina
Acknowledgements:
Special thanks to Anna Komissarova and Ilya Budraitskis for their texts, in which each, from their own perspective, reflected on the Borderline Conditions project.
Anna, a psychoanalyst and art critic, approaches borderline states through a psychoanalytic lens; Ilya, a historian, publicist, and political philosopher, reflects on the political and class dimensions of borders. Their reflections articulate the conceptual horizon within which the project finds its depth.
Special thanks are given to Serj Tubash and Sergey Dedkov for their support.
Venue
MERES multifunctional space, 33 Odos Pentadaktylou, 1016 Nicosia, Cyprus
Photography:
Sergey Dedkov
Ilina Chervonnaya


Fishermen. The view in Spasskoe.

Fishermen. The view in Spasskoe.

Fishermen. The view in Spasskoe.

Fishermen. The view in Spasskoe.
Grigory Soroka
Fishermen. The view in Spasskoe, around 1847
Digital reproduction, original painting—oil on canvas
The reproduction of the oil painting of the 19th century
Russian artist opens the exhibition as a kind of an epigraph. In the forefront we see two young peasant fishermen turning their backs to the viewer and looking to the other bank of the river where the landlord’s estate is located. The forefront and the background are divided by a broad river which seems to separate the different worlds. The painter himself was a serf of the landlord Milyukov and even after the emancipation reform of 1961 in Russia he remained formally dependent on the landlord until his death. Thus the river in Soroka’s painting becomes symbolic and stands for the impossibility to cross the line, a border dividing the real and the desire.

Seacoast

Seacoast

Seacoast

Seacoast
Mykola Ridnyi
Seacoast, 2008
Video 1’ in loop
The video which was shot in Crimea shows a calm summer scene with a static sea horizon, fishermen and holiday boats. The peacefulness of it is periodically broken by the sudden falling of jelly-fish in the foreground. They hit the ground with a loud noise reminiscent of dropping bombs. This doesn’t disturb the fishermen and tourists who continue their leisurely activities, but in the eyes of the spectator the calmness becomes relative and unsteady.

15 points

15 points

15 points

15 points
Olga Butenop
15 points, 2016
World map, video 12’04’’ in loop, chair, text
An unusual travel agency offers virtual tours to countries embroiled in military conflicts. The idea of a safe globalized world where everyone feels like a permanent tourist surrounded by all-included 24h service is turned inside out here. The current instability forces us to pay attention to the facts that are usually hidden from a superficial touristic eye. The isolation is inconsistent, the safety is imaginary and the boundaries are shifting.

Cream Dolphin

Cream Dolphin


Cream Dolphin
Liza Artamonova
Cream Dolphin, 2017
Video presentation, text, plaster, 3D model
Cream Dolphin is a symbolic image of the impossibility to escape. Friendly, smiling and seemingly harmless it guards the open waters. But if you try to cross it and reach a foreign border it will prevent you from doing so. Many Cream Dolphins will surround you and guide you safely back to the place where you departed from. Cream Dolphin is a personal life and border guard.

A Season in Hell

A Season in Hell

A Season in Hell

A Season in Hell
Sofia Astashova
A Season in Hell, 2017
Photo, tracing paper, charcoal, sand
‘Je est un autre’ (‘I am somebody else’), wrote the french poet Arthur Rimbaud in 1873. After finishing his last and one of the most significant works Une Saison en Enfer (A Season in Hell) he gives up his literary career and disappears, dissolves in his texts and becomes a myth. A Season in Hell appears as a map of scars that the outside world left on the poet’s body. The break-up with poetry is like a symbolic suicide. Only the physical body remains which Rimbaud throws into Africa, as if into hell. But the personal hell is inside, it follows wherever one flees. The scars continue to bleed. His escape leaves a trace in the sand, the myth about him leaves a trace in somebody else. Maybe hell is a myth that leaves scars.

Little Green Men

Little Green Men

Little Green Men

Little Green Men
Serj Tubash
Little Green Men, 2017
Generated video 1’24’’ in loop, travel bag, stickers
The work title is a set phrase that appeared during the Ukrainian crisis of 2014 and refers to masked soldiers in unmarked green army uniforms. The Little Green Men by Tubash fit into an ordinary unremarkable travel bag. They are portable, similar, without any identity and perform quietly and mechanically a simple choreography.

Poses of Protest

Poses of Protest

Poses of Protest

Poses of Protest
Ilina Chervonnaya
Poses of Protest, 2017
Fabric (Folded clothes)
Klavdia Alekseyevna lived most part of her live in a state of prevailing collectivity. Her devoted work on a factory was honored by the Soviet regime with an Order of the Red Banner. However her children living in the modern paradigm cannot fully understand and appreciate their grandmother’s life achievements. The economic reality forced her to live in the territory of the other with its unwanted law and order, where she daily manages to introduce some minor distortion. Klavdia Alekseyevna invents different household tactics of disguised protest. The shaped fabrics of the Poses of Protest refer, on the one hand, to these small grandmotherly tricks. But at the same time they look like a thrown off outer shell pathetically waiting for a body to fit in. A shrunken but set possibility for action.

Karsilamas. A team-building dance

Karsilamas. A team-building dance

Karsilamas. A team-building dance

Karsilamas. A team-building dance
Katya Isaeva
Karsilamas. A team-building dance, 2017
Video, badges, text
The artist invites us to a strange Karsilamas dance class, a traditional Greek dance with Turkish routes. The advertising leaflet promises to ‘build confidence, structure and energize fresh thinking’. Though these words sound exciting and promising all the elements of the dance class seem alienating and perplexing. There is no sound of music, unclear instructions on corporate badges are difficult to follow and the dazzling video also doesn’t give a clear idea how to dance Karsilamas. It seems that the only way to learn the dance is to turn away from instructions and corporate identity towards the people who actually might know how to dance it. Thus liberating the possibility of the dance to unite people.

My brother Ryan Gosling

My brother Ryan Gosling

My brother Ryan Gosling

My brother Ryan Gosling
Sergey Rozhin
My brother Ryan Gosling, 2013—2017
Photocollage
‘I have a brother. His name is Ryan Gosling, or Roma Gosling in Russian. When I was 7 he went to Moscow, became famous and moved to Hollywood. I hope he will see this photos and remember his native brother. Don’t forget your nearest and dearest!’ (Sergey Rozhin)
For his long-lasting ironic series of work the artist invented the tactics of face-dropping. It’s a practice similar to name- dropping when you allude to important people within a conversation, story or online identity to impress others. But instead of names the artist uses his own face, which is luckily very resembling the famous and handsome actor. Rozhin creates a whole myth around the figure of his lost brother using the hollywood machinery of producing celebrities for his own practical or droll purposes.

I don’t sea a beacon

I don’t sea a beacon

I don’t sea a beacon

I don’t sea a beacon
Lena Zubtsova
I don’t sea a beacon, 2014—2015
Photo, video of performance 10’ in loop
The performance took place in March and May, 2015
‘On the bank of the River Yauza in Moscow there is a peculiar concrete platform that is not marked on the city map. It looks like a stage without a theatre. Anyone immured in this ‘non-place’ is captured in a downward gaze from across the river. Many times last year on the way to my studio I saw a woman lying on the platform on the opposite bank. Intrigued by the woman’s will to sit there every day alone I started to take photos of her. Time and again the same image recurred— the tiny silhouette of a woman caged by the city. Finally I decided to lie in her place to experience that automatic impersonal stare on me.’ (Lena Zubtsova)
The figures of the strange woman and the artist replacing her appear so tiny on the photos and video that the change is almost indistinguishable for the viewer. By crossing the river the artist overcomes an invisible border and becomes somebody else.

Shifting sands

Shifting sands

description of the death in the quicksand

Shifting sands
Ilina Chervonnaya
Shifting Sands, 2017
Installation (pieces of furniture, sand, glue, cut palm leaves, video 9’ in loop, the sound of electronic drug)
The artist creates an enchanted space setting it as a waiting room with furniture covered in sand. The video projection shows turbid-green water in which a viewer's eye, on the one hand, is caught by palm trees - a symbol of standard desire - reflected on the water surface, but on the other hand, is locked in depths of computer-generated wave. Acoustic treatment by the sound of electronic drug stimulates particular state of catalepsy.
Shifting sands can be understood as a metaphor for fear. If caught into shifting sands, the more you move the deeper you run into it. So the common sense chooses the strategy to stand still and not change the state of things. Acceptance and surrender come instead of attempts to struggle. But the pouring sand also buries old memories and carries a hope for renewal.
Probably, a “drunken sleep, stretched out on some strip of the sand shore”* is not the solitary alternative to tranquil dream concomitant with increased suggestibility.
* quotation from Arthur Rimbaud’s “A Season in Hell” (1873)

Migration

Migration

Migration

Migration
Tanya Sushenkova
Migration, 2013—2017
Postcards
Migration is an ongoing mail art project by the artist. She sends a postcard with a certain text to a friend or fellow artist and later collects it back. The texts contain artist’s reflections and feelings about places, people and her relation to the outer world. In the day to day communication she often feels herself being a ‘migrant’ because of her specific relation to questions of work, household, money, gender, consumption and production. She says that the postcards are questions and letters to herself traveling through the others’ eyes and minds. So the words on the cards are also migrating. Using the old-fashioned media gives her a possibility to create a time shift and distortion when all the sent texts are collected back together. The postcards become reminders and material traces of thoughts, encounters and communications.
Texts:
1. Text by Anna Komissarova
Borderline Society of Unlimited Possibilities
The age of neurotics has come to an end; the postmodern subject has evolved into a borderline state between sanity and madness. Captured by the illusion of omnipotence yet torn by inner contradictions, they drift from megalomania to depression, fragmenting into multiple identities and leaving their own desires unfulfilled. Involuntarily slipping into extremes, they turn independence into isolation, security into conservatism, and influence into terror.
According to generalized statistics, around 3.5% of the world’s population today suffers from borderline personality disorder. Depression, alongside schizophrenia, is considered one of the most widespread mental illnesses—over the past 15 years, the number of people with depression worldwide has nearly doubled and continues to grow.
History of the Term
The term 'borderline' was introduced in 1938 by American psychoanalyst Adolph Stern to describe patients who did not respond to standard psychoanalytic treatment. In his work Psychoanalytic Investigation and Treatment of the Borderline Group of Neuroses, published shortly before Sigmund Freud’s death, Stern vividly described the borderline state using the metaphor of 'mental bleeding', adding marked hypersensitivity, bodily tension, and a combination of depression with outbursts of rage. He believed that narcissistic disturbances lay at the root of the heightened reactions of borderline patients to the analyst’s remarks and to external reality in general.
In 1942, Helene Deutsch referred to such individuals as 'as-if personalities', pointing to their inner disintegration. Psychiatrists Paul Hoch and Philip Polatin in 1949 proposed a special type of 'pseudo neurotic schizophrenia'.
The most comprehensive theory of borderline conditions was formulated in 1975 by British psychoanalyst Otto Kernberg in Borderline Conditions and Pathological Narcissism. He shifted the focus from descriptive clinical criteria to structural ones—considering overall functioning and object relations. For Kernberg, a borderline psychic structure implied affective and behavioral instability at the boundary between neurotic and psychotic ranges, diffuse identity (an inability to integrate the self into a coherent whole), and reliance on primitive defenses without a total loss of reality testing.
A key theorist of the British object relations school, Margaret Mahler argued that the borderline structure forms through fixation at the third subphase of the separation–individuation process—the 'rapprochement' stage. During this period, the child repeatedly attempts to separate from the mother but also returns due to fear of losing her love. The child has not yet fully differentiated themselves from the mother as part of external reality, remaining in a symbiotic fusion and experiencing infantile omnipotence.
In the same year, French psychoanalyst Jean Bergeret published Depression and Borderline States, emphasizing depression as the primary symptom—arising from early object loss or disturbed relationships and a deficit in primary narcissism. In Bergeret’s view, the subject becomes overly dependent on changes in external reality.
The Narcissism of Small Differences
Beyond political and economic factors, certain (intercommunial) conflicts can be understood as a clash of closely related identities—what Sigmund Freud called the 'narcissism of small differences'. In Civilization and Its Discontents (1930), Freud observed that neighboring communities with many similarities often engage in rivalry and mutual contempt.
French psychoanalyst René Diatkine elaborated on this concept, arguing that small differences—such as one’s native language, dialect, or cultural practices—symbolize primary narcissistic identification with the maternal figure. To reject or threaten these differences is perceived as an attack on one’s most fundamental sense of self.
In such contexts, the withdrawal or weakening of an external stabilizing presence can activate latent tensions between groups, triggering a regression to more primitive modes of identification. Under these conditions, extremism often emerges as a defense against archaic fears of annihilation, projection, and fragmentation.
Ethnic or sectarian violence, in this view, can be understood as rooted in pathological projective identification—an attempt to eliminate the other identity and usurp its place, driven by the unconscious terror of dissolving into sameness.
Borderline as a Symptom of Capitalism
At the turn of the millennium, the concept of borderline conditions became a lens for understanding the 'post-socialist' world after the Cold War, marked by the collapse of former social cohesion, norms, and values. The 2000 European Biennale of Contemporary Art Manifesta in Ljubljana was titled Borderline Syndrome: Energies of Defense, aiming to overcome the bipolar division of Eastern and Western Europe.
In his essay for the biennale catalog, Slavoj Žižek described the borderline state as a modern form of hysteria—the libidinal constitution of late capitalist society. The 'pathological Narcissus', he argued, cannot experience the paradox of desire—the split between desire and lack. Even when confronted with an object of desire, the subject does not know what they truly want.
Žižek suggests that today we are no longer governed by a strict, prohibitive father figure but by an obscene one who commands enjoyment. In order to preserve desire, the subject must leave it unsatisfied, condemning themselves to impotence and frigidity.
Indeed, contemporary society demands that individuals not limit or sublimate their desires, but mobilize and realize them. One is expected to be driven, motivated, entrepreneurial, communicative, and multitasking. Human suffering is now framed less in terms of conflict and guilt, and more in terms of shame and deficiency—an inability to realize one’s personal project due to a lack of energy or initiative.
Notably, a new generation of antidepressants—SSRIs (selective serotonin reuptake inhibitors)— emerged in the 1970s and 1980s and became especially widespread in the 1990s. In this sense, Prozac can be seen not merely as a 'happiness pill', but as a 'pill of initiative'.
Since the 1970s, borderline conditions have been diagnosed more frequently, and in the 1980s they were officially recognized as a disorder in the DSM-III under the name Borderline Personality Disorder. Diagnostic criteria include instability in interpersonal relationships, identity disturbance, and a pervasive sense of emptiness.
Otto Kernberg emphasized the importance of distinguishing between borderline personality disorder and a broader borderline personality structure, which is socially conditioned—a response to the inadequacy of the Other. Uncertainty about the future, constant environmental change, and chronic lack of time force individuals to adapt by developing situational or transient identities not grounded in stable roles or relationships.
At the unconscious level, this confronts the subject with narcissistic insufficiency. For psychoanalyst Julia Kristeva, the narcissistic crisis reflects a breakdown in the relationship between the self and the world. The modern Narcissus is thus a suffering subject in need of protection against social and symbolic collapse.