This article investigates the image migration processes of the short film Arif at MUNCH (2024), a work combining narrative and avant-garde elements to depict the self-exploration of one of Norway’s most accomplished rappers. While initially produced for an immersive exhibition at the art museum MUNCH, its festival re-release, as well as its conception, production and reception, are rooted in the migratory movements between several places. To analyse these movements, I draw on theoretical frameworks of image migration and The Black Atlantic .
Nikita Mathias (2025) studied this question.