Abstract
Syrians’ mass displacement and settlement in transit countries has been widely documented, but migrants’ homes in Europe are less visible although essential, even if transient, for those like Syrian artist and activist Diala Brisly. This chapter is analysing a picture of the artist at home by Laure Delhomme (2019) in order to understand how the choice of a home is revealing the migrant’s progressive change from, according to Brisly, ‘no country and no room’ to a diasporic space, both intimate and uncertain. The idea is to question the photographic image of the migrant’s home as a mental topoï between integration and statelessness: a multilevel space and a negotiation ground where the migrant is rebuilding her dismantled personal history.
The aim is to show a home built on narratives with many intertwined stories. Such home is exposing the continuity of a life with its losses, adaptation and projects. It works as a mobile, multicultural escape route towards international citizenship. It brings a form of knowledge as well as a political voice, that is expressing the perspectives of the ones who have no place to claim and to belong to.
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Notes
- 1.
Zayton and Zaytonah magazine.
- 2.
Zeltschule https://www.zeltschule.org/ (director Jacqueline Flory).
- 3.
Exhibition title, in collaboration with the United Nations, 2016.
- 4.
The wish to preserve the ideal image of a society through its monuments gave birth to the idea of preserving old buildings, an idea which then transformed the monument into testimony or trace of the past.
- 5.
Estimate in 2015: 1500 camps in Europe, Africa and the Middle-East, hosting at least twelve million refugees and displaced people (Agier, 2014, p. 14).
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Guetemme, G. (2022). Collecting: The Migrant’s Method for Home-Making. In: Shamma, Y., Ilcan, S., Squire, V., Underhill, H. (eds) Migration, Culture and Identity. Politics of Citizenship and Migration. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-031-12085-5_6
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