Migrating from one sociopolitical context is a liminal way of experiencing life. 

 

The movement of bodies in the territory has a spatial dimension conceptually, in the sense of transitions and thresholds, but also physically, in the sense of how the displaced bodies reinterpret space. 

 

In a context in which the societies had been introduced to one another in ways that would make sure to keep a certain hierarchy, it is beyond the realm of possibility not to encounter neo-racism or cultural and national appropriations. Migrants are integrated into society without being fully accepted. The last border between who they were and where they find themselves manifests in the most intimate border: the window space. One can live in a foreign sociopolitical context, and can still be 'home' in their own domestic space.

 

The installation is a frozen moment in a fluctuating window space; full of traces of national and cultural heritage, overlapping with tattoos, allowing a clash of the larger concept’ of national identity and the more ‘immediate concept’ of personal identity and aims to produce an ‘ongoing reflection’; a reciprocal dialogue between these concepts. 

 

The ambivalence of the window space stands underneath the dialogue between the two documentaries: A Dutch documentary about the Turkish workers that came to the Netherlands in the '70s and were made the representatives of the whole Turkish society for the Dutch; and a Turkish documentary about the Netherlands almost functions as glorifying propaganda.