This dissertation owes its completion to a large ecology of people who contributed and supported at various stages throughout the years of research. Firstly, I extend my infinite gratitude to the residents and volunteers of the communities with whom I collaborated for this dissertation: The Dzjangal in Calais (France), Tiburtina in Rome (Italy), and Los Arenales in Antofagasta (Chile). Their willingness to share their migratory narratives, community archives, and instances of meaningful conviviality has been indispensable to this work. I am thankful for their warm welcome and generosity during my time spent in their communities.

I am also deeply indebted to my family, who have steadfastly supported me throughout this journey. Particularly, I am grateful to my father, who inspired me to explore academic frontiers and look at ways of integrating artistic methodologies and practices into today's sciences research. Likewise, my mother's guidance as an educator has been invaluable as I navigated the diverse and sometimes turbulent paths of academia. I also extend my deepest thanks to my dear friends—artists, curators, architects, geographers and anthropologists scattered all over the world—for their endless conversations and discussions, drawn from their respective disciplines, in shaping this dissertation.

Special appreciation is reserved for my esteemed supervisor, Prof. Regina Römhild. Almost six years ago, she welcomed my initial ideas and reflections (a bit messy) on critical migration and border regimes studies with openness, curiosity and attention. Throughout this dissertation process, Prof. Römhild has consistently encouraged me to surpass my own limits, offering support and care akin to the role of a Doktormutter. Without her unwavering support and encouragement, this dissertation would not have been possible, let alone completed. I am also grateful to my second supervisor, Dr. Prof. Bonaventure Ndikung, who kindly accepted to be part of this process and to reflect together with Prof. Römhild about the relations and tensions between art and anthropology. His collaboration with Prof. Römhild has enriched this work and expanded its scope to consider trans-academic collaborations.

Furthermore, I extend thanks to my academic colleagues and friends at Amo collective, a collective of students, professors, scholars, and members of civil society at the Institut für Europäische Ethnologie HU Berlin. Our shared dedication to fostering a place for collective remembering and rethinking the presence of colonial history and towards convivial futures has been instrumental in shaping this dissertation. The meaningful conversations within Amo collective resonate throughout the pages of this dissertation. I am also deeply grateful to the Institut für Europäische Ethnologie HU Berlin, its staff of technicians, secretaries, directors, professors and students, for welcoming me as a student of their institute. Thanks for being receptive to the idea of transdisciplinarity and fostering an exchange between Theory and Practice.

As part of the final exhibition/disputation of this dissertation, scheduled for October 2024 in the main building of Humboldt University in Berlin, there will be a special section dedicated to appreciating and acknowledging the diverse ecology of people who form the foundation of this dissertation. This section aims to counter the narrative of a solitary doctoral candidate.