In “Time Out of Joint”, Welch describes how Larsen’s End of Dreams figures, lost in the necroregion of the Mediterranean, reflect the uncertain identities and destinations of migrants crossing past the Italian border. These ambiguous figures’ platform is sat on by Italians, perhaps lost in thought or without realization.

End of Dreams bathers. Photo by Domenico Gallelli, used in “Time Out of Joint” courtesy of Nikolaj Bendix Skyum Larsen.

Yet, stories of Beni, Dikembe, and other migrants isolated from their homes, travelled cities, and emphasize the need to participate in “The Crossing”. Despite permanent hrig, Dikembe’s wit from former chef days, Beni’s memories of crowded villages, and many other memories maintain migrant individuality through story-telling. Part of me wishes to hear more of their past that uncovers personalities often covered by their stories of misfortune. Just as important as his dissolving past, each of these migrants also carry a heavy burden of training, camping, and hopes within the forest and desert landscapes, not so far-fetched from the post-apocalyptic Hunger Games. Even if he passes fenced boundaries and is granted asylum, his tainted “illegal immigration” may lead him back to the other side.

Such twisted fate of migrants’ hellish limbo is emphasized by Welch to be a result of colonialism and by Larsen of politicized birthrights. Allowing numbers to rise to higher unprecedented numbers is an act of unsustainable ignorance. End of Dreams and migrants’ stories are calls to elevate international policies above selfishness as well as warnings against the effects of common corporate outsourcing. It is through seeing these people through human eyes that we can and must mend the history of the historical and economic Western colonialism.