Ethno reviewEthno reviewЭтнографическое обозрение0869-54153034-6274The Russian Academy of Sciences67215110.31857/S0869541523060027MPTBLFArticlesСтатьиResearch ArticlePhoto albums: deconstructing narratives of the self, migration, and movable memoriesФотоальбомы: деконструируя нарративы о себе, миграции и мобильной памяти (пер. с англ. С.В. Соколовского)ShahrokhiS.ШахрохиШ.sshahrok@butler.eduButler UniversityУниверситет Батлера151220236NO6 (2023)№6 (2023)122527022025Copyright ©; 2023, Russian Academy of SciencesCopyright ©; 2023, Российская академия наук2023Russian Academy of SciencesРоссийская академия наукhttps://journals.eco-vector.com/0869-5415/article/view/672151

Photo albums, as personal and cultural material objects, are intertwined with ideas about identity and memory. At the same time, the importance of memory in how we shape and make sense of our place in the world that is enhanced through evocative objects such as personal photographic archives (ranging from traditional family albums, to selfies on mobile phones, and beyond) becomes more pronounced in the context of the Anthropocene era in which diverse and unequal global movability (e.g., displacement, border crossing, and migration) has become a defining feature of who we are. Connecting between anthropological studies of border-crossing and migration art, this project explores how in the absence of a photo album, alternative modes of visual archives tell the migrant stories of affective connections to family homeland the past and the present Focusing on specific examples from the burgeoning body of alternative visual artwork by contemporary migration artists in Europe and the US this paper examines how identity and otherness are entangled in an ongoing process of becoming and unraveling as sociocultural norms. Beginning with Appadurai’s observations on how migration of objects precipitates the experience of border crossing this paper looks at how migration art activism empowers modes of resistance to normative exclusionary discourses and current anti-migration practices.

Фотоальбомы как личные и культурные материальные объекты переплетаются с представлениями об идентичности и памяти. В то же время в эпоху антропоцена, когда разнообразная и неравноправная глобальная мобильность (напр., насильственное перемещение, пересечение границ и миграция) стала определяющей чертой нашей идентичности, память о том, как мы формируем и осмысляем свое место в мире, усиливаемая эвокативными вещами, такими как личные фотоархивы (от традиционных семейных альбомов до селфи на мобильных телефонах и т.д.), становится все более значимой. Соединяя антропологические исследования трансграничной миграции и искусства мигрантов, автор анализирует, как в отсутствие фотоальбома альтернативные визуальные архивы рассказывают мигрантам истории аффективных связей с их родиной или родиной их семей в прошлом и настоящем. На конкретных примерах из растущей совокупности паблик-арт произведений современных художников-мигрантов в Европе и США рассматривается взаимодействие идентичности и инаковости в продолжающемся процессе становления и распада социокультурных норм. Отталкиваясь от наблюдений Аппадураи о том, что миграция вещей усиливает восприятие пересечения границы, автор исследует, каким образом художественный активизм мигрантов содействует сопротивлению нормативным дискурсам исключения и современным антимигрантским практикам.

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