Abstract
Based on artist Thomas Hirschhorn’s installation entitled Bataille Monument, the article discusses how controversial works of art situated outside the art museum can address local communities as fragmented and conflicted communities. It is argued that public spaces should be perceived as zones where potentially different and contradictory social, ethnic, economic and cultural participatory positions can interact, calling for an active negotiation process. Based on theoretical reflections on so-called radical democracy, it is argued that democratic societies and their museum institutions could benefit from focusing on contemporary conflictual and debatable issues.
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