Abstract: Michal Heiman’s project, Return: asylum (the Dress, 1855-2018), consists of photographs of women and men clothed in a dress similar to one worn by women inmates at the former Surrey County Lunatic Asylum in the 1850s. Traversing time, space, gender, race and institutional practices of asylum, the artist takes the viewers on a ride in a time machine that is not a technological devise but a discourse on memory and on owning the future: s/he who wears the dress has the potential to return as witness, reader, artist, prosecutor, gate-keeper or rebel, thereby transforming her exceptional story into ours. Return: Asylum is an act of resistance: it engages human imagination in re-presenting the regenerative power of human solidarity as an alternative to current political practices that sacrifice the right of asylum—the only right that since the dawn of political life, as noted by Arendt, “has ever figured as a symbol of the Rights of Man”—at the altar of a security theology.
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In our new issue we feature Amy Kapczynski’s essay on neoliberalism and the right to medicine. Also in this issue are essays on Armenians and the history of humanitarian evacuations, the changing politics of squatting in Britain, Chinese Humanism, and the genre of NGO reports in India. We end with a review essay on the attempt to outlaw war.View entire issue >
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This post is part of a symposium on Ayça Çubukçu’s book For the Love of Humanity: The World Tribunal on Iraq (University of Pennsylvania Press, 2018). All contributions to the symposium can be found here. Attempting the Impossible, Doing the Necessary Sometimes, in trying to think through the history of the present, it’s helpful to begin at the end and work your way back. The reader who takes this approach to Ayça Çubukçu’s For the Love of Humanity: The World Tribunal on Iraq will be Continue reading →
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