(Leeds: AHRC CentreCATH,
University of Leeds, 2006).
17 Khalid Koser, InternationalMigration: A Very Short Introduction (Oxford, New
York: Oxford University Press, 2007), pp. 16–19.
18 Giorgio Agamben, Homo Sacer: Sovereign Power and Bare Life (Stanford: Stanford
University Press, 1998).
19 Tello, Counter-Memorial Aesthetics, p. 2.
20 The principal example is Barron and Eckmann (eds), Exiles + Emigrés. See also
Nicholas Mirzoeff (ed.), Diaspora and Visual Culture: Representing Africans and
Jews (London, New York: Routledge, 2000). It is in the writings of T. J
. Historically, the conceptualisation of
place and movement in the social sciences has been dominated by a dichotomisation between sendentarism and deterritorialisation, i.e. the tendency to
perceive human beings as either static, and dwelling in a specific place, or
as placeless nomads – and to take the locational stability of sendentarism to
be the norm. The mobility turn opposes this dichotomy and testifies to the
ongoing attempt to chart and understand how internationalmigration and
other mobilities – such as tourism and travel mobilities, for example – have
-called ‘political turn’ in contemporary art since the
1990s, it is not surprising that a number of artists have committed themselves
to spotlighting the geopolitical issue of the securitisation of borders and its
recurrent fatal consequences for unwanted immigrants. Thus, the second
part of this chapter focuses on this issue as part of the overall phenomenon
of internationalmigration. It examines how the enforcement of the European
borders surfaces in the artistic-cinematic imaginary in an analysis of Isaac
Julien’s video installation Western Union: Small Boats, and its theme of
, ‘Current Trends in InternationalMigration in Europe’ (The Council
of Europe, 2006), www.coe.int/t/dg3/migration/archives/documentation/Migra
tion%20management/2005_Salt_report_en.pdf (accessed November 2016).
38 There is, of course, also the troublesome issue of what kinds of migrants and
nationalities are permitted to pass which national borders, but this is an issue for
border studies that I will leave aside, even though the issue has often surfaced in
discussions of art, migration and politics; see, for example, Iain Chambers, ‘Adrift
and Exposed’, in Lene