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(Leeds: AHRC CentreCATH, University of Leeds, 2006). 17 Khalid Koser, International Migration: 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

in Migration into art
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. 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 international migration and other mobilities – such as tourism and travel mobilities, for example – have profoundly

in Migration into art

-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 international migration. 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

in Migration into art

, ‘Current Trends in International Migration in Europe’ (The Council of Europe, 2006),​igra​ 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

in Migration into art