Open until May 15, 2023
You are invited to submit articles for the annual digital publication, Faire Monde(s), to be published online in December 2023.
Our aim is to provide a broader aesthetic and critical reflection on the Caribbean context, its specificities or its similarities with global production and to reflect on artistic practices from all continents.
For this fourth issue, the theme is:
Can art repair the world?
For artists living in regions allocated a subaltern status by the Modern/Colonial World-System, it is often tempting to see in art something with an almost mystical function, as capable of going beyond mere denunciation, and even potentially able to literally repair society.
For these artists, representation becomes an area where reality can be steered in the right direction, where wrongs can be repaired and injustices redressed. Utopia helps the imagination to relieve the wounds of the real, restoring hope after traumatism. Denunciation is a way of dialoguing with the public when politics or society seem deaf, bringing to light buried or taboo issues.
Yet, voices have been raised to criticise the idealists. Due to its links with the institution and the market, art is said to be a hypocritical and useless tool in the face of the world’s situations. Worse, to ask art to repair society would be to refuse to make society responsible for its acts, to put a plaster on a wooden leg, in short, to naively take refuge in the symbolic and to protect the really guilty parties.
“Can art repair the world?” The aim of this new issue of Faire Mondes is not to take sides, but to report on ongoing debates, both in the field of artistic creation and in aesthetics, in critical theory but also in institutional criticism. What strategies have been developed by artists to reach this goal? Is it just a question of working in the symbolic realm or does social practice linked with the community present itself as the most pragmatic and promising solution? What new forms of creation, defying the boundaries of disciplines and artistic media, have emerged to do so? Who are the authors and thinkers who are supporting artists in developing these works, and how? What fruitful interdisciplinary bridges can be identified in such interactions? Lastly, how do artistic institutions and the art market manage these contradictory demands for social justice, when they themselves, through the power of the state and of capital, reproduce the same injustices that the artists are seeking to repair?
Learn more on how to participate here.