. Supported by impactful quotes from asylum seekers who
survived violence and war, she elaborates on how strong community ties – largely
face-to-face – give way to the formation of weak ties in the face of forcedmigration. To some extent these interactions allow refugees to restore connections and
obtain vital information for their life in an unfamiliar environment. Her findings
suggest that these weak ties prove to be particularly useful to those who are illiterate
and, rather paradoxically, to those
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Sandvik , K.
B. ( 2017 ), ‘ Now is
Matthew Hunt, Sharon O’Brien, Patrick Cadwell and Dónal P. O’Mathúna
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McDonald , S.
M. ( 2017 ), ‘ Do No Harm: A
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Migration, understood as the movement of people and cultures, gives impetus to globalisation and the transculturation processes that the interaction between people and cultures entails. This book addresses migration as a profoundly transforming force that has remodelled artistic and art institutional practices across the world. It explores contemporary art's critical engagement with migration and globalisation as a key source for improving our understanding of how these processes transform identities, cultures, institutions and geopolitics. The book also explores three interwoven issues of enduring interest: identity and belonging, institutional visibility and recognition of migrant artists, and the interrelations between aesthetics and politics, and its representations of forced migration. Transculturality indicates a certain quality (of an idea, an object, a self-perception or way of living) which joins a variety of elements indistinguishable as separate sources. The topic of migration is permeated not only with political but also with ethical urgencies. The most telling sign of how profoundly the mobility turn has affected the visual arts is perhaps the spread of the term global art in the discourses on art, where it is often used as a synonym for internationally circulating contemporary art. The book examines interventions by three artists who take a critical de- and postcolonial approach to the institutional structures and spaces of Western museums. The book also looks at the politics of representation, and particularly the question of how aesthetics, politics and ethics can be triangulated and balanced when artists seek to make visible the conditions of irregular migration.
terms. In 1945 and 1946 more than 700 Jewish
child survivors were flown to Britain for them to recuperate. Roughly 300
were temporarily housed in the Lake District which was regarded as ganeydn
(Yiddish for paradise) and the ‘promised land’.3 As one of the former children,
Michael Perlmutter recalls, ‘I was reborn in Windermere in 1945. The promise
of England was a dream to a teenage boy who no longer believed he could
believe in dreams.’4
Alongside slavery at the extreme of forcedmigration were those deported
to their deaths as part of the Nazis’ ‘Final Solution
world, the global increase in forcedmigration does give reason for serious concern about the growing stigmatisation of irregular migrants and refugees as ‘crimmigrant’ others (Aas),
and about the ways in which the securitisation and fortification of borders
increase the citizenship gap and jeopardise migrants’ lives by forcing them
to undertake perilous journeys. Such concerns gave impetus to Chapter 6,
which examined the nexus of forcedmigration, border control, securitisation
and humanitarianism through the lens of some contemporary works of art
- and twentieth-century history, however, is (in the prevailing paradigm) primarily a history of (what are constructed as) settled mono-ethnic nations forming states and engaging in territorial disputes which have often led to forcedmigration when perpetrators of ethnicised violence purge those they identify as minorities from what they intend as homogenous national territories, but which are rarely viewed in the context of migration around the globe.
Histories of ‘race’, however, are always and already migration histories. White Europeans
What does race have to do with the Yugoslav region?
formation, forcedmigration and genocide that invite seeing its past and present through the lens of ethnopolitical and religious conflict. Moreover, as part of ‘eastern’ rather than ‘western’ Europe, and without its own history as an imperial power, it did not experience the mass migration from outside ‘Europe’ of millions of people whose identities would be racialised as non-white. Studies of how ideas of ‘race’ have circulated and been adapted across the globe, for their part, themselves still almost always pass over the east of Europe and its state socialist past. The