In Brussels, before, after or in 2020, the Josefa House presents itself as “empty” in the sense of a possible future, according to our “welcomed” migrations. Like the stained glass windows created by Jean-François Jans in the so-called "art-cultural" space of Josefa, we could also evoke the migratory game between drifts and reveries…
In a way, in addition to its relative operational capacities (offer of accommodation for 32 people or cultural, spiritual spaces), the Josefa House is possibly understood as a place of shared experiences based on singularly different, diverse human presences.
The challenge of this path, according to our migrations: can it, should it, therefore, envisage a transposable dimension, in the sense of a modelable activation? The risk could be to want to rationalize or to seek to perfect the proposal.
A tension then appears between gestures that are both foundational and a process: "our migrations" and a search for efficiency: "integration of our migrations".
In this, Josefa must preserve some autonomy, not for itself, but so that our migrations remain alive, by themselves, beyond their real drama.
"Risk" taking, without doubt, incomprehensible for many, in the sense of a relative lack of practical, operational concreteness, or unacceptable for others in the "ethical" sense, but doubtless possibly tenable with regard to a hope, to a future always in tune with our migrations, and this, in a collective dimension which forces itself to not deny the uniqueness of each journey and its possible creative force, including exile, error or failure: our migrations are because they come and become and, thus, make and break our humanities.
