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Research Article

The Mediterranean as sepulcrum nostrum: drowned refugees, commemorative artworks and maritime heritage of the future

Pages 703-721 | Received 23 Jan 2024, Accepted 24 Jan 2024, Published online: 18 Feb 2024

Figures & data

Figure 1. Ai Weiwei’s installation consisting of discarded life vests at Kunsthal Charlottenborg, Copenhagen, June 2017 (photo by author).

Figure 1. Ai Weiwei’s installation consisting of discarded life vests at Kunsthal Charlottenborg, Copenhagen, June 2017 (photo by author).

Figure 2. Porta d’Europa in Lampedusa, December 2020 (photo by Domenico Paladino, wikimedia commons).

Figure 2. Porta d’Europa in Lampedusa, December 2020 (photo by Domenico Paladino, wikimedia commons).

Figure 3. Barca Nostra at Venice Biennale, 2019 (photo by Jean-Pierre Dalbéra, Wikimedia Commons).

Figure 3. Barca Nostra at Venice Biennale, 2019 (photo by Jean-Pierre Dalbéra, Wikimedia Commons).

Figure 4. Artist Ai Weiwei lying face down in Lesvos in the Aegean sea as a tribute to 3-year-old Aylan Kurdi in a bid to highlight the plight of Syrian refugees (photo by Rohit Chawla, India Today).

Figure 4. Artist Ai Weiwei lying face down in Lesvos in the Aegean sea as a tribute to 3-year-old Aylan Kurdi in a bid to highlight the plight of Syrian refugees (photo by Rohit Chawla, India Today).

Figure 5. Ai Weiwei’s installation refutation at Tang Contemporary Art, Hong Kong, March 2018 (photo by author).

Figure 5. Ai Weiwei’s installation refutation at Tang Contemporary Art, Hong Kong, March 2018 (photo by author).

Figure 6. Đỉnh Q. Lê’s installation the Deep Blue Sea at art Basel Hong Kong, March 2017 (photo by author).

Figure 6. Đỉnh Q. Lê’s installation the Deep Blue Sea at art Basel Hong Kong, March 2017 (photo by author).