Globalized cities, like Basel with its pharmaceutical industry, are shaped by migration. At the same time migration, one of the driving forces of urbanization, scarcely surfaces in public discourse. Due to a dominant codified remembrance politics that unfolds along the lines of national discourse, official archives and museums fail to integrate evidence and objects testifying to migration into their collections. This article presents three case studies of another type of archive—namely the Özlem Fotostudio, The House of Resistance and Solidarity, and Novartis and the Papageienhäuser (Parrot Blocks)—all of which were studied in a research project conducted in Basel in preparation for the exhibition "Çok Basel! Transnational Memoryscapes Switzerland—Turkey,” during May 3–June 30, 2019. This article challenges the common understanding of an archive as a static form of storage. It shows how photographs, as triggers of memory and storytelling, can be interrogated and function as apt tools to make migratory archives, hidden memories, and narratives of migrant communities visible.

全球化的城市，如拥有制药业的巴塞尔，都是由移民塑造的。与此同时，作为城市化驱动力之一的移民几乎没有出现在公共话语中。由于沿国家话语的路线展开的主流编纂纪念政治，官方档案馆和博物馆未能将证明移民的证据和物品整合到他们的收藏中。本文介绍了另一种档案类型的三个案例研究，即 Özlem Fotostudio、The House of Resistance and Solidarity、Novartis 和Papageienhäuser（Parrot Blocks）——所有这些都在巴塞尔进行的一个研究项目中进行了研究，为展览”Çok 巴塞尔！Transnational Memoryscapes Switzerland-Turkey，”于 2019 年 5 月 3 日至 6 月 30 日期间。本文挑战了将档案作为静态存储形式的共识。它展示了作为记忆和讲故事的触发器的照片如何被审问，并作为一种恰当的工具，使移民档案、隐藏的记忆和移民社区的叙述可见。