Saturday, March 24, 2018

Moving Hearts - Migration Museum at the Workshop London 25 March 2018

Powerful installation by Australian artist Penny Ryan with clay human hearts made by hundreds of Londoners with messages for refugees. There's time till tomorrow to see it. Don't miss it!

click here for more information about the project

Facebook event page

Monday, February 5, 2018

Wednesday, October 4, 2017

Call for paper_`Special Issue The Journal of Ethnic and Migration Studies

Special Issue Call for Papers on
Deadline: 13th of October 2017
We invite papers for a special issue of The Journal of Ethnic and Migration Studies (JEMS) exploring the relationship between affect and migration. Please pass this CfP through your networks to anyone you feel might be interested in contributing.
We live in an area of increasing securitisation and border regimes. Everyday bordering has become a major technology of control (Yuval-Davis, Wemyss & Cassidy, 2017). These bordering practices impact the everyday lives of many migrants that live within the EU. At the same time, various forms of resistance have developed in the everyday - in activist and solidarity spaces, camps, art and research - which challenge and contests these increasingly violent and invasive practices.
This special issue will explore the affective dimension of migration. The motivation for this collection is the growing volume of academic work focusing on affective complexities that emphasise the need for research to attend to the world as messy (Law, 2004), sensory and affective (Stewart, 2007; Coleman, 2013, McManus, 2013). Moreover, our own research, and experience as activists, has shown us the importance of the affective aspects of the migrant experience, which often escape theories and methodologies.
This special issue aims at bringing together insights from across disciplinary fields. We welcome abstracts from scholars, artists, activists and practitioners, and non-academics who explore or experiment with the affective nature of migrant activism.
As the focus of this special edition is on understanding the more holistic experience of migration, we seek to mirror that in the way the edition is structured and understood by the reader. Therefore, we especially invite creative response to the call (which might include photo-essays, interviews, shorter articles, “blog” style posts or artist statements).
Possible themes may address but are not limited to:

  *   The intersection between affect and migration
  *   Relational ontologies
  *   Emotions, discursive structures and embodied realities that migration produces
  *   Affect as tool of resistance
  *   How affective processes, practices, sensations shape migrants experiences
  *   Everyday bordering processes and affect
  *   Affective methodologies, embodied accounts of the lived experiences of migrants

Please send title and abstract of no more than 250 words no later than FRIDAY OCTOBER 13th 2017.

Abstracts and enquiries should be sent to:
Amy Frances Wishart Corcoran AND Isabel Meier<>

Deadline for proposals: 13th of October 2017
Acceptance: No later than November 2017
Deadline for first-drafts: End of February 2018

*** We are also seeking to recruit one more member to our editorial team, if you are interested, please contact Amy and Isabel at the email addresses provided above***

Thursday, June 1, 2017

Rights and Might: Cultural counter-narratives of the migrant and refugee experience | University of Westminster_Refugee week 22-25 June 2017

Dear all,
it's my pleasure to announce the upcoming conference I've had the pleasure to co-organise with a number of colleagues from the University of Westminster.

You can find all details in the eventbrite page, where you can also register.

For a draft programme see below

Tuesday, February 7, 2017

Lampedusa: Debating representation of migration in an age of 'crisis' (2 March, 6:30pm.)

Dear all,
it's my pleasure to announce an upcoming event at the University of Westminster, where I will present on my research together with artists Maya Ramsey, Lucy Wood and Côme Ledésert.
Don't miss it! The event is free but registration is required. 

Richard Mosse, Incoming (Barbican Art Gallery 15 February-23 April 2017)

Richard Mosse, Incoming

15 February 2017 - 23 April 2017Curve Gallery

Barbican Art Gallery has invited conceptual documentary photographer and Deutsche Börse Photography Prize winner Richard Mosse to create an immersive multi-channel video installation in the Curve. In collaboration with composer Ben Frost and cinematographer Trevor Tweeten, Mosse has been working with an advanced new thermographic weapons and border imaging technology that can see beyond 30km, registering a heat signature of relative temperature difference. Classed as part of advanced weapons systems under International Traffic in Arms Regulations (ITAR), Mosse has been using this export controlled camera against its intended purpose, to create an artwork about the refugee crisis unfolding in the Aegean Sea, off the coast of Libya, in Syria, the Sahara, the Persian Gulf, and other locations. 
Mosse is renowned for work that challenges documentary photography. In his recent work The Enclave (2013) – a six-channel installation commissioned by the Irish Pavilion for the 2013 Venice Biennale – Mosse employed a now discontinued 16mm colour infrared film called Kodak Aerochrome that transformed the green landscape of the eastern Democratic Republic of Congo into vivid hues of pink to create a surreal dreamscape. Questioning the ways in which war photography is constructed, Mosse’s representation of the ongoing armed conflict in eastern Congo advocates a new way of looking.
Born in Ireland in 1980, Richard Mosse lives and works in New York and Ireland.

Please note, the exhibition will close at 6pm (last entry 5.30pm) on 16 February.

Representing the Calais Jungle GIDEON MENDEL: DZHANGAL (London, 6 January-11 February)


Rivington Place (London)

Photographer Gideon Mendel has created a powerful installation using objects he gathered during visits to the 'Jungle' refugee camp in Calais.
By focusing on items such as toothbrushes, playing cards, worn-out trainers, teargas canisters, and children’s dolls, Mendel conjures alternative portraits of the 'Jungle' residents that also stand in for the plight of displaced people everywhere. 
The title of the project Dzhangal refers to a Pashto word meaning ‘This is the forest’, the origin of the contentious term 'Jungle'.
Mendel is noted for his long-term socially engaged projects. He initially went to Calais to teach photography to refugees part of a collaborative documentary project. He discovered that many refugees were hostile towards the camera and sceptical that it would ameliorate their situation. Many feared that being identified could undermine their asylum claims and lead to deportation.
Mendel’s response was to turn his attention to lost objects on the ground, collecting them and trying to understand the patterns that emerged. Through the display of discarded objects, Mendel highlights the residents’ humanity. Some objects evoke the daily violence many experienced, some reflect the banality and domesticity of lives there - including the plight of women and children - while artefacts from a deeper archaeological layer evidence the era before the camp existed.
This exhibition combines a series of large still life photographs of these objects with installations of found objects. Mendel regards his Dzhangal project as a way to create order from the disorder. It is an attempt to make sense of the complex relationships, politics, and situations found on the ground by restructuring the objects within the frameworks of art and photography. In these artefacts with all their ingrained grit and ashes, one senses the refugees’ struggle to live ordinary lives under extraordinary circumstances, while the stench of smoke evokes the fire that turned to ashes their hopes for better lives in England.
During the concluding week of the exhibition, Mendel’s book, DZHANGAL will be released. Published by Gost Books, it will include 80 pages of images, along with texts by refugees, writer and broadcaster Paul Mason, and art historian Dominique Malaquais.
On the Jungle
The Jungle was the final incarnation of temporary refugee camps that sprang up around the Port of Calais in the past eighteen years. Initially, residents in the camps numbered in the hundreds— with an estimated 800 refugees in 2009. Since then, this number rapidly increased because of turmoil in the Middle East and the Horn of Africa. In September 2014, there were approximately 1,300 refugees. By November 2015 numbers had risen to 6,000. There were up to 9,000 refugees residing in the Jungle in October 2016, when the camp was demolished.