Cosmopolitanism is commonly associated today with the idea that the forces of globalization could be tempered by new forms of cosmopolitan governance, an idea that was popular among some political theorists in the late 20th century but seems increasingly unrealistic today. Rather than discarding the idea of cosmopolitanism, Nikos Papastergiadis seeks to reinvigorate it by examining the ways in which visual artists have explored themes associated with the cosmos. Artists often claim that all humans possess a fundamental capacity to care, create and connect. Some artists also argue that this creative capacity is linked to a dual connection – companionship with others and with the cosmos. The Ancient Greeks claimed that tuning in to the cosmos was the primal source of inspiration. Kant regarded cosmopolitanism as the goal for humanity, but he turned his attention away from the connection to the cosmos and directed it towards the practical rules for peaceful co-existence. However, these two concerns are not in conflict. Today a new vision of the cosmos is being developed by artists among others, one that brings together the cosmos and the polis. Scholars from the South are decolonizing the mindset which divided the world and split us from our common connections, while others are using art to highlight the existential threats we now face as a species.   By developing a distinctive form of aesthetic cosmopolitanism, this book shows that the idea of the cosmos is more important than ever today, and vital for our attempts to rethink our place as one species among others in a universe that extends far beyond our world.

Museums of the Commons examines L'Internationale, an ongoing confederation between six museums and contemporary art institutions in Europe. Drawing on extensive interviews with the directors, curators, public programs officers in all the museums, as well as artists, critics and members associated with them, the book provides a transversal account that connects the ideas across the various institutions and situates this in the wider visual and social context. Chronicling the challenges faced by the museums, Papastergiadis goes on to situate their responses within the wider political and cultural context that is shaping the future of all contemporary art museums. Five key domains of research are explored within the book: the genealogy of the museum; the need for alternative models of trans-institutional governance; examples of innovation in the spaces of aesthetic production; experimentation in the forms of partnership and engagement with constituents; and finally, examination of the impact of a collaborative and collective regime of artistic practices. Museums of the Commons provides a multi-perspectival account of a trans-institutional and transnational collaboration, which will be of great interest to academics, researchers and postgraduate students working in the fields of Museum Studies, Cultural Studies, Art History, Media and Communication.

Cosmopolitanism is commonly associated today with the idea that the forces of globalization could be tempered by new forms of cosmopolitan governance, an idea that was popular among some political theorists in the late 20th century but seems increasingly unrealistic today. Rather than discarding the idea of cosmopolitanism, Nikos Papastergiadis seeks to reinvigorate it by examining the ways in which visual artists have explored themes associated with the cosmos. Artists often claim that all humans possess a fundamental capacity to care, create and connect. Some artists also argue that this creative capacity is linked to a dual connection – companionship with others and with the cosmos. The Ancient Greeks claimed that tuning in to the cosmos was the primal source of inspiration. Kant regarded cosmopolitanism as the goal for humanity, but he turned his attention away from the connection to the cosmos and directed it towards the practical rules for peaceful co-existence. However, these two concerns are not in conflict. Today a new vision of the cosmos is being developed by artists among others, one that brings together the cosmos and the polis. Scholars from the South are decolonizing the mindset which divided the world and split us from our common connections, while others are using art to highlight the existential threats we now face as a species.   By developing a distinctive form of aesthetic cosmopolitanism, this book shows that the idea of the cosmos is more important than ever today, and vital for our attempts to rethink our place as one species among others in a universe that extends far beyond our world.

Museums of the Commons examines L'Internationale, an ongoing confederation between six museums and contemporary art institutions in Europe. Drawing on extensive interviews with the directors, curators, public programs officers in all the museums, as well as artists, critics and members associated with them, the book provides a transversal account that connects the ideas across the various institutions and situates this in the wider visual and social context. Chronicling the challenges faced by the museums, Papastergiadis goes on to situate their responses within the wider political and cultural context that is shaping the future of all contemporary art museums. Five key domains of research are explored within the book: the genealogy of the museum; the need for alternative models of trans-institutional governance; examples of innovation in the spaces of aesthetic production; experimentation in the forms of partnership and engagement with constituents; and finally, examination of the impact of a collaborative and collective regime of artistic practices. Museums of the Commons provides a multi-perspectival account of a trans-institutional and transnational collaboration, which will be of great interest to academics, researchers and postgraduate students working in the fields of Museum Studies, Cultural Studies, Art History, Media and Communication.

The political responsibility of artists in a globalized society is debated in this collection of articles by authors from Africa, Australia, South America, Europe, and Scandinavia. Bemoaning the competition for tourist dollars among the world's great cities and the commodification of cultural artifacts, these artists propose real and imagined places where art might resist capitalism, such as failed urban developments, among refugees, and in rural outposts.

Addressing the pleasures and dangers of cultural identity in the age of mass media and global migration, these essays range from a commentary on the redrawing of the boundaries of contemporary art to a mapping of the controversial theory of hybridity.