The idea that diplomats today could help us articulate what divides us should not be abandoned. But it needs to be resituated in a new environment.

Through its aesthetic liberation of things, ideas, and layers of time, art constructs imaginaries of interdependence, which in their own way contribute to a society of solidarity. Today, during this time of pandemic, we like to talk about us all being in the same boat, a metaphor that has replaced the catastrophic image of overcrowded boats of refugees crossing the Mediterranean. But the most powerful metaphor of the present time is the metaphor of the virus, which represents how everything influences everyone. But this is only our view of viruses, our exploitation of its properties. What viruses themselves think about this, nobody knows.

More recently, a neoliberal ideologization of the self-sufficient, entrepreneurial self or “sovereign individual” has fed into an online and offline culture of entitled (male, white) trolls and thugs—the yuppie as the larva of the fascist. When a sense of eroding privileges is essentialized, a life reduced to survival can quickly be translated into phantasms such as “white genocide.” However, (seemingly) progressive forces are clearly not immune from the social pathologies of the age. The need for coalitions is constantly frustrated by jockeying for position through the construction of hierarchies of grief. In a volatile cultural economy, the accumulation of cultural capital often seems to prevail over the need to build infrastructures of coexistence.