‘[…] an interesting view on the phenomenon of migration, which is not examined primarily through the prism of its current economic, social, political or security implications, but with regards to contemporary art. Despite this, the issue is embedded in a broader historical and theoretical framework – Petersen points out the so-called “mobility turn”, for instance. In the clarification of the concept of migration, she primarily refers to the book by T. J. Demos – The Migrant Image: The Art and Politics of Documentary During Global Crisis (2013), containing the definitions of the main types of migration (diaspora, refugees, nomadism), which she further specifies (circular migration). Regarding the analysis of specific works, she deals with the concept of “migratory aesthetics”, referring to Mieke Bal and Griselda Pollock and, to the correlations of aesthetics, politics and ethics.’
Jana Geržová, Profile / Contemporary Art Magazine, No. 4 (2018)

Introduction
1 Globalisation-from-above and globalisation-from-below
2 The politics of identity and recognition in the 'global art world'
3 The artist as migrant worker
4 Mining the museum in an age of migration
5 Identification, disidentification and the imaginative reconfiguration of identity
6 Migrant geographies and European politics of irregular migration
Conclusion
Index