More than through any other lens, migration foregrounds gender as a construct that is also at once a process in the making; one, too, that lends itself to change and flux. It exposes the fluidity of gender.
The home is in the world and vice-versa. What this leads to is a revision of the city as public space, or polis, articulated through a liberating mode of gendered, and hence human, relations
Photography in the digital era exemplifies modernity’s narcissism and unstable fluidity. In entering the muddy waters of the ordinary and the everyday, it risks anonymity, even irrelevance. This may fundamentally alter the place of photography in our world, but it does not in any way lessen it.
Return migration is almost always a strategy aimed at empowering the host nation’s right to governance and border management rather than a strategy of concern for the people at stake.
Human migration, when triggered by economic factors, rather than forced by war, ethnic violence or natural disaster, begins, not with the crossing of borders per se, but with the movement of imagination across space.
