<style type="text/css" media="screen">@import url(/revue02/css/styles.css); #texte1 { visibility: visible; position: absolute; top: 0px; left: 0px; width: 410px; height: 316px; line-height: 25px; } </style> <SCRIPT LANGUAGE="JavaScript"><!-- var adresse; function machine(adresse) { popup = window.open('', 'Diaporama', 'toolbar=no,location=no,directories=no,status=yes,menubar=no,scrollbars=yes,resizable=yes,copyhistory=yes,width=500,height=600'); popup.location.href = adresse; popup.focus(); openPopup = 1; } // --> </SCRIPT> <div id="texte1"> <b>Leading article</b> <br><br> Social living is dominated by jeopardizing risk. Research confirms that our fellow citizens cite uncertainty as one of their major causes of distress. These days, our imagination is fed with this fear as it was fed by the nuclear threat during the Cold War or as the consciousness was - for a thousand years - relentlessly subject to the probability of hell. The emergence of this fear intrigues, notably because - as Zygmunt Bauman emphasizes - " each epoch owns its characteristic fears that differentiate it from other epochs or more precisely each epoch gives its own name to fears known by all the other eras ". <br> <br> What is happening then, to make us experience instability, unpredictability, uncertainty not as precious potentialities that can enlarge our destiny, but as tumours wasting our ordinary existence? Why isnÕt uncertainty experienced as an ongoing reality of the human experience, instead of as a new threat? <br><br> After the dances of death from the Middle Age plunged into war and great epidemics, the baroque era and its mannerism have hidden a huge worry that may have some links with our era. If today television and advertising sing the praises - through a playful, permissive and relaxed form - of a paradise affordable through a consumer spree, we are not totally naive because we remain consumed by our inability to think about our future. The most optimistic prospect we have about the future is to keep present the present, without dereliction. In that way, our temporal horizon becomes ephemeral, and the vulnerable people contribute perhaps to make this deadlock more visible. <br><br> As in Hieronymus Bosch's paintings, a furtive group infiltrates our streets and floats over the Mediterranean Sea. These people are surplus to requirement because they are insolvent and insolvency seems to be doomed to disappear, to renunciation, plain and simple oblivion. This radical uncertainty replaces the well-known and stable forms of social organisation by other ones, still stammering. It gives birth to a multitude of hypotheses which we have chosen to tackle by creating a network of artists and researchers spread in Europe. We invite you to discover here the first stage of this work of the aesthetic (re)composition of the social. <br><br> <span class="bottom"> This issue 4 of LOCAL.CONTEMPORAIN is published by <a href="http://www.lelaboratoire.net" target="_blank" class="lien2">LABORATOIRE </a>In partnership with the CONSERVATION DU PATRIMOINE DE L'ISERE,<a href="http://www.musee-dauphinois.fr" target="_blank" class="lien2"> MUSEE DAUPHINOIS</a>, <br> <br>with the support of : <br>la FONDATION DE FRANCE, <br>le MINISTERE DE L'ECOLOGIE, DU DEVELOPPEMENT ET DE L'AMENAGEMENT DURABLES (PLAN URBANISME CONSTRUCTION ARCHITECTURE), <br>la REGION RHONE-ALPES, <br>le CONSEIL GENERAL DE L'ISERE, <br>la METRO, <br>la VILLE DE GRENOBLE, <br><br>and the collaboration of : <br><a href="http://www.plan-project.com/" target="_blank" class="lien2">PLAN-PROJECT (COLOGNE)</a>, <br><a href="http://www.multiplicity.it/" target="_blank" class="lien2">MULTIPLICITY (MILAN)</a>, <br><a href="http://www.wyspa.netstrefa.pl/" target="_blank" class="lien2">WYSPA INSTITUTE OF ART (GDANSK)</a>, <br><a href="http://www.museedegrenoble.fr/" target="_blank" class="lien2">MUSEE DE GRENOBLE</a>. </span> </div>
Editorial
Summary
Sound extracts
Download the english version
Order the review
Stay up to date
