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In deze uitgave maken we kennis met het museum Trinkhall en zijn collectie, een onderdeel van het Créahm-project waarbij mensen met een mentale handicap de kans krijgen zich te uiten in dans, muziek of andere kunst.

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Mettre à l'épreuve la notion d'arts situés au regard des visages de la collection. Trouver la connivence entre les mots et les images. La décrypter, puis l'abandonner, tresser des échos d'un tableau à l'autre, puis les contrôler. Sertir le texte avec la même minutie qu'une gravure. Contempler, parfois commenter, plus souvent dire ce que l'on a vu, qui ne se confond pas avec que chacun verra. Est-ce un jeu de cache-cache entre l'image et le texte ? Quitter le tableau. Affronter des hantises, des obsessions, des peurs - les nôtres sans doute, également. Suggérer des luttes, des réponses. Puis revenir au tableau - "La paupière est inclinée avec une grande douceur". Etablir un réseau de correspondances entre les toiles, les dessins, les gravures. Et, dessous l'image, entendre le travail des ateliers (Danièle Prégardien).

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Cosmopolitanism is a theory about how to live together. The earliest formulation of cosmopolitanism in the West could be dated to as early as the fourth century BCE in ancient Greece by Diogenes, who famously said that he was a ?citizen of the world ? kosmopolitês,? an idea later picked up by Immanuel Kant, the German philosopher who proposed a philosophy of a world of ?perpetual peace.? When cosmopolitanism first emerged as a political idea for modernity in the European Enlightenment, the project embraced the liberal promises of a globalizing economy, yet remained oblivious to, and even complicit with, capitalism, slavery and colonialism. It centered on the male, bourgeois, and white liberal subject, irrespective of the ongoing disenfranchisement, dehumanization, and extermination of its Others.0 0At the dawn of the 21st century, and in the wake of rapid globalization however, academics, politicians and other pundits enthusiastically declared cosmopolitanism to be no longer just a philosophical ideal, but a real, existing fact. Across the globe, they argued, people were increasingly thinking and feeling beyond the nation, considering themselves citizens of the world. Meanwhile, the global ecological crisis worsens, fascism with different outfits returns in many places of the world, the repression of women, sexual, racial, class and other minorities on a global scale persists; the so called ?refugee crisis? inundates the mediascape and political spectacle. Not much of those cosmopolitan promises have left it seems. Perhaps precisely because of this, however, it seems to be an absolute necessity for scholars, activists, and artists today to face the complexities and promises cosmopolitanism has raised although not adequately answered. What has happened to the cosmopolitan promise, and who betrayed it?0.

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Art

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Art