ABSTRACT

Across the world, public spaces are undergoing profound transformations, in tandem with the pluralization processes resulting from several decades of intensified global migration. The aim of this article is to provide some overarching perspectives on the topic of this special issue by examining how artistic and curatorial modes of address contribute to the creation of new public spaces and new forms of publics and assemblies attuned to today’s culturally pluralized and transnationally interconnected societies. The first part outlines how the various roles of art in public spaces (broadly understood) have been defined and evaluated by influential theorists. This account also prepares the way for the focus of the subsequent parts on art’s capacity to intervene into, or alternatively negotiate, social conflicts, and on how this change has gone hand in hand with an increasing artistic and curatorial use of participatory strategies. We then move on to critically discuss this “participatory turn” and explore, by way of a case study of the Maxim Gorki Theatre’s 4. Berliner Herbstsalon (2019), how such practices may permit public spaces to serve as sites of contestation where hegemonic structures and practices are confronted and new forms of collective identification may emerge. We also introduce the concept of postmigrant public spaces to more accurately describe the conflict-negotiating and coalition-building role that art is increasingly called upon to fulfil in the public spaces of today’s culturally diverse “societies of negotiation” (Foroutan).

摘要

在全球范围内，公共空间正在经历深刻的变革，伴随着数十年加剧的全球移民带来的多元化进程。本文的目的是通过研究艺术和策展模式如何有助于创造新的公共空间和新形式的公众和集会，以适应当今文化多元化和跨国互联社会。第一部分概述了有影响力的理论家如何定义和评估艺术在公共空间（广义上）的各种角色。这个说明也为后续部分关注艺术干预或协商社会冲突的能力铺平了道路，以及这种变化如何与越来越多的艺术和策展人使用参与式策略并驾齐驱。然后，我们继续批判性地讨论这种“参与性转向”，并通过对马克西姆·高尔基剧院的案例研究进行探索。4. Berliner Herbstsalon (2019)，这些实践如何允许公共空间成为对抗霸权结构和实践的场所，并且可能会出现新的集体认同形式。我们还引入了移民后公共空间的概念，以更准确地描述在当今文化多元化的“谈判社会”（Foroutan）的公共空间中，越来越多地要求艺术发挥冲突谈判和建立联盟的作用。