By Marsha Meskimmon
Contemporary artwork and the Cosmopolitan Imagination explores the position of artwork in conceiving and reconfiguring the political, moral and social panorama of our time. knowing artwork as an important kind of articulation, Meskimmon argues that works of art do greater than easily replicate and signify the techniques of transnational and transcultural trade commonplace of the worldwide economic climate. fairly, paintings can swap the way in which we think, comprehend and interact with the area and with others very diversified than ourselves. during this experience, artwork participates in a serious discussion among cosmopolitan mind's eye, embodied ethics and locational id.
The improvement of a worldly mind's eye is essential to engendering a world experience of moral and political accountability. through materialising thoughts and meanings past the bounds of a slim individualism, paintings performs a massive position during this improvement, allowing us to come across distinction, think swap and make attainable the recent. This e-book asks what it skill to inhabit a globalized international – how we would actually and figuratively make ourselves cosmopolitans, ‘at domestic’ all over. modern paintings presents an area for this enquiry.
Contemporary artwork and the Cosmopolitan Imagination is based and written via 4 ‘architectonic figurations’ – beginning, threshold, passage and touchdown – which at the same time reference the outfitted setting and the transformative constitution of knowledge-systems. It bargains a tough new path within the present literature on cosmopolitanism, globalisation and art.
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Extra info for Contemporary Art and the Cosmopolitan Imagination
The four cities in which the Sher-Gil family lived in the period – Lahore, Budapest, Shimla and Paris – are metropolitan centres with long histories of intercontinental trade and cultural exchange, further marked by European imperialism and decolonisation, and by the legacy of providing sanctuary to numerous exiles and migrant communities over many years. They are complex and, arguably, cosmopolitan sites, where cultural diﬀerence has been a cause of conﬂict as well as a source of remarkable innovation for generations.
12 In cognitive psychology, episodic memory refers to the speciﬁc and particular memories we gain from personal experience – the memory derived from my body coming into contact with people, objects and events in the world. By contrast, semantic memory may not have this corporeal immediacy, but provides mnemonic context – my memory of the narratives told to me by my friends and family or learned in school that set my personal episodic memories into a wider, intelligible frame. Signiﬁcantly, it is not possible to operate as a coherent subject without both of these modes, and there is no simple border between them; they are thresholds of memory without which we would have no sense of selfhood, and these thresholds embed the self fully within the social.
Diﬀerence is at the heart of the Re-Take project, most prominently cultural diﬀerence, sexual diﬀerence and generational diﬀerence. This is critical to the work’s potential to contribute to the contemporary conﬁguration of cosmopolitanism, where cosmopolitanism is conceived beyond the limits of privileged bourgeois consumption. Conventional, ‘neo-liberal’, cosmopolitanism is focused upon the individual,30 where the individual is understood to be a transcendent subject or selfcontained unit, keen to experience the frisson of ‘the other’ through a veil of pleasurable, commodiﬁed distance.