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Contemporary monumentality, entropy, and migration at the gateway to Europe
Tenley Bick

fantasy of eternal memory through its slow erasure” ( 2019 : 254). With these earlier discussions in both primary and secondary scholarship in mind, what differentiates the contemporary entropic monumentality I want to get to here is its clear imbrication with (undoing) coloniality associated with monuments in Italy as exertions of power. This form of entropic monumentality is inclined to decolonial fluidity (as opposed to imperial “openings”) and flows of shared terrain (Mignolo, 2018 : 135–42). 20

in Migrants shaping Europe, past and present
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The power of refugee artists
Saskia Elizabeth Ziolkowski

around Lampedusa. In chapter 6 below, Tenley Bick analyzes art located on Lampedusa itself, especially the Italian artist Mimmo Paladino's 2008 work, Porta di Lampedusa, porta d’Europa (Gateway to Lampedusa, Gateway to Europe) in terms of its decolonial fluidity and in contrast with monuments as exertions of power. The illustrations of the stories in Anche Superman era un rifugiato , as the refugees themselves, also disrupt mainstream images of migration. For instance, Abdalla Al Omari, paired with Marc Chagall in Michela Monferrini's story, is famous for painting

in Migrants shaping Europe, past and present