Search results

You are looking at 1 - 10 of 28 items for :

  • "Jacques Rancière" x
  • Art, Architecture and Visual Culture x
Clear All
Yulia Karpova

in art theory or in the philosophy of art. Instead, I interpret aesthetics in a broader sense, one first proposed by Jacques Rancière, as ‘a specific regime for identifying and reflecting on the arts: a mode of articulation between ways of doing and making, their corresponding modes of visibility, and possible ways of thinking about their relationships’.3 This new aesthetics came to replace the Stalinist regime of arts, which, following Rancière, can be deemed representative, that is, it adhered to a hierarchy of genres and subject matter and privileged speech over

in Comradely objects
Abstract only
Anne Ring Petersen

observation made by Jacques Rancières in The Night of Labor: The Workers’ Dream in Nineteenth-Century France (Philadelphia: Temple University Press, 1989). 2 Meskimmon, Contemporary Art and the Cosmopolitan Imagination, p. 92. 3 Ibid., p. 92. 4 Julien, ‘Planet’, p. 176. 5 De Angelis et al., ‘Introduction: Disruptive Encounters – Museums, Art and Postcoloniality’, p. 11. 219

in Migration into art
Jane Chin Davidson

artistic expression. This viewing position is a reminder that the video installation is a quasi-philosophical form with its legacy in theatrical conceptualism as well as ontological models of film and performance that have been informed by a diversity of critical theories, such as those articulated by Rey Chow and Shu-mei Shih, whose work addresses cinema and Chineseness, but also aligns with the feminist perspectives of Trinh T. Minh-ha and Teresa de Lauretis and the philosophical influences of Maurice Merleau-Ponty, Henri Bergson, and Jacques Rancière. Chang offers a

in Staging art and Chineseness
Caroline Turner and Jen Webb

modes of social organisation; and this is critical for any movement seeking social change. Jacques Rancière writes: Within any given framework, artists are those whose strategies aim to change the frames, speeds and scales according to which we perceive the visible, and combine it with a specific invisible element and a specific meaning. Such strategies are intended to make the invisible visible or to question the self-evidence of the visible.11 Art is at the heart of such strategies because of its capacity to offer alternative ways of seeing and knowing and

in Art and human rights
Abstract only
On the humanism of precarious works
Anna Dezeuze

Postscript Postscript: on the humanism of precarious works Against ‘de-humanising’ abstractions Concrete, here and now, everyday, relative, immanent: the vocabulary that describes the precarious works in this study outlines a specific field of experience. This is a field on a human scale – unspectacular, unmonumental, as fragile as our relations and as finite as our brief lives. It is the space of the human condition, variously described by Hannah Arendt, Jacques Rancière, Giorgio Agamben, Maurice Blanchot and Michel de Certeau, but also D.T. Suzuki and Robert

in Almost nothing
Abstract only
Political, cultural, green
Andrew Patrizio

Gaia’ (2011) and ‘Facing Gaia: A New Enquiry into Natural Religion’ (2013) coopt the deep ecological vocabulary of James Lovelock to mediate on climate change, science and culture (including art practice). 48 Latour follows others we have already noted in raising the problem of scale, seeking to address ‘the total disconnect between the range, nature, and scale of the phenomena and the set of emotions, habits of thoughts, and feelings that would be necessary to handle those crises’, 49 moving to reframe Jacques Rancière’s new landscape of the sensible in ethical

in The ecological eye
Abstract only
Staging art and Chineseness
Jane Chin Davidson

changes of those conditions in China has brought Chineseness into the forefront of the socio-political economy of representation. Althusser’s exploration of Maoist thought was developed later by his students, including Jacques Rancière and Alain Badiou, both of whom have contributed significantly to contemporary art discourse while conserving in varying degrees the use of Maoist alternatives to capitalism through discourse.28 The fragments and traces of historical materialism in the structural philosophies for art, affecting representation and identity, can be seen as

in Staging art and Chineseness
Assemblages of images and the production of knowledge
W. J. T. Mitchell

Jacques Rancière has called ‘image sentences’ (Rancière 2007, 46ff.). Art history, for example, tends to confine its moments of simultaneity and synchronic presentation to what might be called ‘dialectical display’, the practice of comparing two slides side by side, a routine that Robert S. Nelson has traced back to the Hegelian ancestry of art history (Nelson 2000). There are notable exceptions to this rule of concealment, two of the best known being Aby Warburg’s Mnemosyne project, the Bilderatlas, which he assembled in Hamburg during the last few years of his life

in Image operations
Abstract only
Tijana Vujošević

would be impossible without first defining the communist individual.The groundwork for the study of subjectivity in Western cultural theory has been established by Louis Althusser, Jaques Lacan, Michel Foucault, Gilles Deleuze, Felix Guattari, and Jacques Rancière. Despite numerous and sophisticated differences, including radically Introduction 9 different opinions on individual agency, these theorists all believe that the terms of discourse and representation fundamentally define who an individual is or is not. Battles over defining the identity of the citizen are

in Modernism and the making of the Soviet New Man
(eco)feminist interpellations of Chineseness in the work of Yuk King Tan, Cao Fei, and Wu Mali
Jane Chin Davidson

’s students Jacques Rancière and Alain Badiou.16 The anti-bourgeois and anti-rightist campaigns in China would become the model for French intellectuals, which I argue had left an impact on the future of political philosophy in globalization. Feminists like Kristeva were enamored of Mao’s empowerment of women, even as the Confucian system connecting gender to kinship and the state perpetually underlies the definition of ‘woman.’ For instance, the familial term funü came to represent the equality of woman as worker while the sexual term nuxing became the signifier of the

in Staging art and Chineseness