In his work Syria 2.0, Tomas Bachot analyses a visual archive which is located beyond western perceptual structures. He is occupied with 360 degree pictures posted on Google Maps by Syrian citizens. Our visual vocabulary from such crisis regions is formed by the leading media, and accordingly is focused visually on the topos of the crisis. Bachot expands the visual canon in his work, depicts alternative life circumstances which intimately, silently and occasionally also humorously serve as portals towards a better future. His selective access to this visual world is not restrictive, but via the detour of art broadens awareness of both the crisis and the necessity for it to end.