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The End of Arrogance, the Advent of Persuasion

Public Art in a Multicultural Society

Henri Beunders

In Western societies, the boundaries of the freedom of expression had traditionally been expanding, while the boundaries of religion and 'good morals' had been receding. Since the last decade however, this expansion has slowed down, come to a halt, and ultimately reversed. In Europe, anxiety over the expression of protest through violent means has steadily caused governments to abandon the traditional, seemingly limitless adherence to freedom of expression. Political fear over controversy has come to dominate the climate of commissioning public art. In a polarized world, the debate on what is tolerable has taken on an acute urgency. The art world itself no longer has an answer. After a half-century of autonomy, it has succeeded in demolishing its own authority by ridiculing every aspect of external criticism. The only solution now will be a new form of dialogue with all stakeholders involved.

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Monumental Suspension

Art, Infrastructure, and Eduardo Chillida's Unbuilt Monument to Tolerance

Isaac Marrero-Guillamón

. Whereas Brian Larkin (2013 , 2018 ) has articulated the need to incorporate questions of aesthetics in the study of infrastructure, I want to introduce an infrastructural perspective in the study of (certain) artworks. Large public art projects such as

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Self and the City

The Politics of Monuments

Karen Kipphoff

This text looks at the function of monuments and to some extent architecture in the public space. It focuses especially on those countries that have undergone sweeping historical changes, such as Romania, Germany, and Russia, while attempting to convey not only the historical and cultural information but the very personal, physical sensations of the encounter a human being might have when in the proximity of monuments and spaces. The images are 360 degree surround photography, where the photographer's location constituted the very center of the image, thus making the photographer's subjectivity the invisible monument of the seemingly documentary image.

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Hocking, Bree T. 2015. The great reimagining: public art, urban space and the symbolic landscapes of a ‘new’ Northern Ireland. New York: Berghahn (Material mediations: people and things in a world of movement; volume 4). 232 pp. US$95.00. ISBN: 978‐1‐78238‐621‐6.

Jan Wolf

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Hijacking Cultural Policies

Art as a Healthy Virus within Social Strategies of Resistance

Marina Fokidis

The Egnatia Road project describes a cooperative action between European artists and local populations along the ancient route from Rome to Constantinople. Focusing on myths and memories of territorial and metaphorical displacement over centuries, it represents a space of resistance realized in narrative and physical action. The process of constructing the road engages artistic activism and local communities in creating a participatory cultural product. Begun as a road trip to the Balkans, the research in history, storytelling, and half-forgotten traditions has resulted in the creation of mobile laboratories and events involving a range of people and experiences. The ongoing intention has been to produce paving stones recording the personal and communal experiences of people along the road. As an exercise in public art, the project has raised new questions and insights into the nature of popular dissent and the role of art in giving it a voice in wider venues and situations.

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Chalk Back

The Girl and Youth-Led Street Art Movement to #StopStreetHarassment

Natasha Harris-Harb and Sophie Sandberg

for this work. The extensive global research done by Stop Street Harassment, the focus on digital story-telling by Hollaback!, and the beautiful public art portraits by Tatyana Fazlalizadeh that demand the public to “Stop Telling Women to Smile” have

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Aratoi: Our Journeys to Aotearoa

Collaborative Knowledge Construction at a Regional Art Gallery in New Zealand

Esther Helen McNaughton

schools, in more than thirty classes, and their local public art gallery, The Suter Art Gallery Te Aratoi o Whakatū, in 2019. The project asked students to explore their diverse cultural backgrounds by considering their ancestry and the journeys that

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Repatriation and Ritual, Repatriation as Ritual

Laura Peers, Lotten Gustafsson Reinius, and Jennifer Shannon

, and the power of ritual to both articulate and to alter existing patterns of politics and sociality. Existing literature has considered museums as both ritual and secularizing spaces. Carol Duncan’s (2005: 8) Civilizing Rituals: Inside Public Art

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France in the Times of COVID-19

The Public Humanities as a Vaccine for Coexistence

Araceli Hernández-Laroche

asynchronous interview he conducted with Time via his phone in Parisian confinement. Besides describing his interpretation of his public art, JR also shared phone video recordings of his creative process. The words “Finding Hope” aptly characterized Time' s

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Art Gallery Education in New Zealand during COVID-19

The Emergence of a Community of Practice

Esther Helen McNaughton

. An example of this was Dunedin Public Art Gallery's series of short online art workshops called DPAG Art @ Home for children and their families. Workshops used minimal materials and were accessed through the gallery's website. The DPAG produced