Issue 4

In what follows is an attempt at an impossible dialogue with an inanimate object that cannot answer me back. Namely, a book titled Maalesh, the Journal of a Theatrical Tour, by Jean Cocteau.

I encountered The List for the first time in Amsterdam in 2002. After downloading the pdf file I found on UNITED’s website, I found myself to have made a very quick decision.

Migration is happening. It is irreversible. Acknowledging this means wagering on a future in a democratic, cosmopolitan society based on the right to have rights.

The Critical Network of Studies for Migration and Border Regimes initiated a counter-campaign and their manifesto was signed by 3800 intellectuals. Here, we are presenting that campaign text (2010) as it remains still one of the most striking challenges to the discourse of integration.

One year ago, Kanak Attak, a coalition against racism, presented its work to a larger audience for the first time at the Volksbühne Berlin. With the OpelPitbullAutoput revue, panel discussions, films and conversations in the hallways, we turned our attention to the history of migrant resistance, a topic whose traces have been lost in libraries and personal archives.

The concept of “integration” is all the rage in public discourse. There’s no party manifesto where it doesn’t occupy a central position, and there’s no discussion about migrants in the media where it isn’t used as a shorthand for the problem of “people who aren’t like us”.

The exhibition conceived in 2014 by House of the History of the Federal Republic of Germany in Bonn, on the topic of Germany as an immigration country, was titled Immer bunter, which translates as “ever more colourful”.

In this article, two examples of social experimentations are presented: one that intertwines concepts of culture(s) and public infrastructure, and the other one that meets concepts of food and socio-economic emancipation.

This interactive archive does not attempt to provide a history of the revolution, nor does it attempt to an exhaustive chronicle of filmmaking in Egypt since 2011. The focus is on documentary and independent filmmaking and creative approaches to leading the Egyptian culture and society after the events of the revolution.

The main thesis is the following: The global political topography of our time is being reshaped through uprisings that exhibit a global momentum and share the same moment – although they are independent of the specific social and political contexts of which they are emerge.