In this article, we reflect on our collaborative practice-as-research piece Project Finding Home, that arose from our experiences of working and living in the UK as ‘non-British’ citizens. Engaging with other refugee and migrant artists over three years, we worked deliberately as co-researchers and co-creators in a non-hierarchical dynamic to produce a series of four films reflecting on how we find home when it is so impacted by government policy, social and cultural integration, and intergenerational relationships. This article focuses on two of these films, one made with the participatory theatre company of Sanctuary, PSYCHEdelight, and one made with conceptual artist, Khaled Barakeh. Through observations of their work, we discuss how their respective uses of comedy (in PSYCHEdelight’s show Mohand and Peter) and visual representation (in Barakeh’s installation On the Ropes) resist singular views of migrant narratives. Additionally, we analyse our creative and ethical processes for making films with them about their work. Discussing how their aesthetics informed our processes for showcasing who they are and what they do as artists to a wider audience, we examine how artistic practice, its documentation, and its dissemination can question dominant aesthetic norms and existing migration and cultural policies in the UK and Europe.

中文翻译：

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通过艺术实践重构移民叙事

在这篇文章中，我们反思了我们作为“非英国”公民在英国工作和生活的经历而产生的合作实践研究项目“寻找家园”。在三年多的时间里，我们与其他难民和移民艺术家合作，作为共同研究者和共同创作者，我们在非等级动态中有意合作，制作了一系列四部电影，反映了我们如何在受到政府政策如此大的影响时找到家，社会和文化融合，以及代际关系。本文重点介绍其中两部电影，一部由参与式剧团 Sanctuary PSYCHEdelight 制作，另一部由概念艺术家 Khaled Barakeh 制作。通过观察他们的工作，我们讨论了他们各自对喜剧的使用（在 PSYCHEdelight 的节目 Mohand 和 Peter 中）和视觉表现（在 Barakeh 的装置 On the Ropes 中）如何抵制移民叙事的单一观点。此外，我们还分析了与他们一起制作有关他们作品的电影的创意和道德流程。讨论他们的美学如何影响我们向更广泛的观众展示他们是谁以及他们作为艺术家所做的事情的过程，我们研究了艺术实践、它的文献和它的传播如何质疑英国和英国的主流审美规范和现有的移民和文化政策。欧洲。