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&#13;
Introduction&#13;
Après la chute du mur de Berlin 1989, nous croyions que l’époque des murs et des barrières s’était terminée. Pourtant depuis 2000, ils se multiplient de nouveau partout dont le mur de séparation en Israël, les murs entre les États-Unis et le Mexique, et les barrières anti-migratoires en Espagne, en France, et aux pays balkaniques. Comme le mur de Berlin ces murs modernes sont érigés pour empêcher la migration d’un pays à l’autre. Cette archive virtuelle recueille des objets pertinents à la conceptualisation des murs dans nos sociétés: comment ils sont imaginés, leurs fonctions et les moyens pour les surmonter.&#13;
&#13;
Conclusion&#13;
Le mur est souvent conceptualisé de deux manières aux antipods, à la fois comme protection et prison. Cette archive sert d’approfondir notre compréhension de cette conception double. Dans le communiqué des gouvernements français et britannique se voit la peu d’importance accordée à la voix de migrants dans la construction d’un mur par rapport à celles des citoyens. On y voit aussi « la banalité de mal » d’Arendt. Puis, le deuxième et troisième objets ont montré le fonctionnement de ces murs et comment ils créent des états d’exception, le panoptisme et une hétérotopie. Finalement, le graffiti de Banksy sur le mur de séparation en Palestine fait preuve des tentatives de déconstruire mentalement les murs à travers l’art. Les parallèles entre cette démarche et celle de l’éducation évoquée dans les livres de Choukri et Binibine ont été notés aussi. Les murs existent depuis l’aube des civilisations, mais avec l’évolution de nos sociétés les murs et le moyen dont ils sont conceptualisé a lui aussi beaucoup changé.</text>
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&#13;
Nous pouvons faire le lien entre l’oeuvre de Banksy et le livre Cannibales de Mahi Binebine. Le livre s’agit de deux cousins, Azzouz et Réda, qui tentent la traversée entre le Maroc et l’Espagne, mais à la fin du livre ils manquent le bateau. Plus tard on apprend que le bateau a coulé et tous les passagers sont morts. Pour Binebine échapper et migrer ne veut pas toujours dire une fuite physique, cela peut être une fuite virtuelle. Dans Cannibales, cette fuite virtuelle s’agit de l’éducation qui donne à Azzouz l'opportunité de s'épanouir sans migrer. On peut constater un autre exemple du livre Le Pain Nu de Mohamed Choukri où le personnage principal Mohammed, après une enfance et une adolescence passées dans le pauvreté et la crime, parvient à surmonter ces défis grâce à une éducation informelle. Bien sûr nous ne disons pas que l’art de Banksy et une éducation sont des équivalents, seulement que les deux peuvent être deux pistes d’échapper même partiellement à une réalité cruelle lorsqu’une traversée d’un mur est impossible. Tout comme l’éducation les oeuvres de Bansky permettre les gens de passer de l’autre côté du mur dans leurs imaginations.</text>
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