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This text reflects on identities from an African archipelago in the Atlantic that is part of the Spanish state. The Canary Islands were the first place colonized by Europeans in their expansion toward America. The text focuses on identity formation throughout the twentieth century. Reference is made to Canarian artists and poets such as Tomás Morales and Alonso Quesada, and more recent artists of international stature such as Manolo Millares, Martín Chirino, and César Manrique. The international context and the destruction of the idea of Europe are reflected from various perspectives. Reference is made to travelers who drew analogies between Canary Islanders and Native Americans, and the notion of "displacement" at every level is addressed. The article also discusses "foreigners" traveling back and forth in the era of advanced technology, globalization, and mass tourism. As Stefan Zweig and Franz Rosenzweig have observed since the 1920s, in the age of border control, anyone can become a "foreigner." "Europe: Passage and Reflections" was born within the context of the exhibition "Europe, that Exotic Place" (2019–2020) and expands upon the reflection on insularities undertaken in the exhibition "Island Horizons" (2009–2010), which featured artists and writers from Cuba, the Dominican Republic, Puerto Rico, Martinique, Guadeloupe, French Guiana, the Canary Islands, the Azores, Madeira, Cape Verde, and Réunion. The article also arose from the "Islands, Images, Imaginaries" discussion series held at Duke University in 2011. [ABSTRACT FROM AUTHOR]

How can research contribute to a positive transformation of the politics of migration? This article addresses the question with reference to a recent research project, Crossing the Mediterranean Sea by Boat, which maps and documents the journeys and experiences of people on the move across the Mediterranean. It explores how qualitative research engaging research participants as people with the authority to speak can affect change by exposing claims and demands that compel ‘receiving communities’ to bear witness to the contemporary violence of policies and practices. Exploring the dissemination strategy of sharing stories through interactive maps and research–art collaboration, the article emphasises the importance of strategies that foster constructive connections between diverse constituencies. This development, the article argues, involves a process of translation that goes beyond a form of passive empathy and that works towards positive transformation of a slower duration, albeit in terms that remain discomforting. [ABSTRACT FROM AUTHOR]

This essay addresses the conditions and limits of artistic interventions in the contemporary landscape of border security. It argues that the theatrical rituals of border security — scanning, screening, verifying identity — have become domesticated and all-but-invisible in our daily scopic regimes. At the same time, the essay suggests that surprising, enchanting encounters with the techniques and technologies of security can interrupt border sequences and create invigorated possibilities for public engagement. An ethics of unanticipated worlds is proposed as an alternative to political action as always proximate to observable and visible violence. In a world where rituals of border security increasingly operate precisely by pre-deciding and pre-empting in advance, art that works in the absence of certainty and decidability offers a crucial window through which to evaluate and respond. [ABSTRACT FROM AUTHOR]