• Art, Migration, and Human Rights

  • Menu
  • Topics
    • Introduction
    • Remapping Migration: Rights, Body, and Resistance
    • The Performance of Control and Security
    • Actors, Networks, and Counter-Machines
    • Gender, Sexuality, and Migration
    • The Politics of Care: Mourning, Memory, and Forensics
    • Art and Performance
    • Collaborative Pedagogies
  • Where We Went
    • Albergue Jesus El Buen Pastor and Refugio los 3 Ángeles
    • Casa del Migrante Hogar de la Misericordia
    • Centro de Ayuda Humanitaria a Migrantes, Chahuites, Oaxaca
    • Centro de Derechos Humanos Fray Matías de Córdova
    • Checkpoint Tamara
    • Checkpoint Huixtla, Chiapas
    • Ciudad Tecún Úman
    • Comisión Nacional de los Derechos Humanos, Sede de Tapachula
    • Estación de Tren Arriaga
    • Estación de Tren Chontalpa
    • FOMMA – Fortaleza de la Mujer Maya
    • La 72 Hogar – Refugio para personas migrantes
    • Oventik
    • Panteón Municipal Arriaga
    • Paso del Coyote
    • Roberto Barrios
  • What We Saw
  • Course Blog
  • This Dossier
    • Syllabus
    • Contributors
    • Interviews
    • Media Coverage
    • Ayotzinapa
    • Crossing Mexico Conference
    • Permanent People’s Tribunal (PPT)
  • Bibliography

Archives

  • February 2017
  • August 2015
  • July 2015
  • 0

Categories

  • Class 2: Migration
  • Class 3: Rights and Vulnerabilities
  • Class 4: Seeing and Violence
  • Class 5: Defacement
  • Class 6: Remains/Forensics
  • control and security
  • Reading responses
  • Uncategorized
Posted on July 28, 2015January 24, 2017

Timing performance in “deep” and “imaginary”

Posted on July 28, 2015January 24, 2017 by emilypryor

CategoriesClass 2: Migration TagsEmily P