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Transnational migration has produced a state of flux in the naturalized conception of home as a fixed, bounded, discreet and trouble-free place of origin, (re)casting home as a more complex, or perhaps simpler, project entangled within the workings of the global capitalist economy. In this context, here the author qualitatively explores migrants’ engagement with the notion of home in the sense of how they conceptualize and experience home, based on the lived experiences of Sri Lankan women who have migrated to Kuwait as live-in migrant domestic workers (MDWs) independently of their families. The stories of the MDWs simultaneously made the meaning of home as conventionally defined, more straightforward and more complicated: home was taken on a journey with them to a faraway foreign land. The MDWs negotiated and constructed belonging and not belonging dialectically in multiple homes, thus being simultaneously “here,” “there” and “nowhere.” In migration, home thus manifests the evolution of female power and duty, portraying it at once as a locus of women’s liberation and as new and perhaps more extreme forms of (re)subjectivation in the emplacement of home within global capitalism. Migration performs home as a space in the (un)making: an ongoing project through the course of life.

This study explores the relations between home and family in times of a pandemic, transporting the family away from the family home and, apparently, from the family itself. Specifically, it focuses art, culture, and society by shedding light on the enduring role of family rituals in creating and sustaining family identity while affirming the role of information and communication technology (ICT), in both the construction and reproduction of the family dynamics amid pandemic times. Reflection is taken upon a live-by-Zoom art exhibition opening. Family photo albums and several artifacts are used to show the family history, and, at the same time, the installed objects and surrounding narratives invite others to imagine the artist’s family as well as each audience member’s own family. The opening took place in March 2021, during the second lockdown in Portugal. Methodologically, the chapter draws on data collected through direct observation and autoethnography. Inspired by an arts-based approach, narrative is built on storytelling sociology, while using writing as a method of inquiry and reflexive composition to overcome the limits of the personal narrative. By the end, it is argued that as families “live” at Zoom, family rituals too. Zoom platform reproduces the family atmosphere, opportunities, and constraints. Looking at the art exhibit opening as a family ritual allows one to think about how individuals experienced family gatherings during the pandemic, but also how art might generate such familial intimacies in such exceptional times.