• Art, Migration, and Human Rights

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    • 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
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    • Roberto Barrios
  • What We Saw
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  • This Dossier
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    • Crossing Mexico Conference
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Categories

  • Class 2: Migration
  • Class 3: Rights and Vulnerabilities
  • Class 4: Seeing and Violence
  • Class 5: Defacement
  • Class 6: Remains/Forensics
  • control and security
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Posted on August 1, 2015January 24, 2017

From an Ethics of Forensics to an Ethics of Art: Gut Reactions

Posted on August 1, 2015January 24, 2017 by hannahrackow

CategoriesClass 6: Remains/Forensics Tagshannahrackow

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