‘Loud’ and ‘quiet’ politics: Questioning the role of ‘the artist’ in street art projects after the 2011 Egyptian Revolution
‘Loud’ and ‘quiet’ politics: Questioning the role of ‘the artist’ in street art projects after the 2011 Egyptian Revolution
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“喧闹”与“安静”的政治：质疑 2011 年埃及革命后街头艺术项目中“艺术家”的角色
DOI：
10.1177/1367877919847212
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发表时间：
2019
影响因子：
2.1
通讯作者：
Darci Sprengel
中科院分区：
文献类型：
--
作者：
Darci Sprengel
本文考察了开罗的草根艺术倡议al-Fann Midan（艺术是一个城市广场）和亚历山大街头艺术组织的对比方法，以展示在革命时刻，它们如何与“政治”建立不同的关系。它延伸了社会学家Asef Bayat的“安静的侵占”概念，通过“大声”和“安静”政治的声音隐喻来分析这些截然不同的方法。作为一个光谱，这个框架强调了日常生活，姿态和情感一方面可以同时存在，有时与更大，更具代表性的政治表达存在紧张关系。因此，它避免了对创造性“抵抗”或“异议”的盲目崇拜，尽管如此，它还是在一个革命的时刻分析艺术，通过将创造性表达更历史地扎根，并分析关注它如何重新激活阿拉伯知识分子之间关于“艺术家”角色的长期辩论。
This article examines the grassroots artistic initiative al-Fann Midan (Art is a City Square) in Cairo and a contrasting approach to street art organizing in Alexandria to demonstrate how each enacted a different relationship to ‘the political’ in a revolutionary moment. Extending sociologist Asef Bayat’s concept ‘quiet encroachment’, it analyzes these contrasting approaches through the sonic metaphor of ‘loud’ and ‘quiet’ politics. As a spectrum, this framework highlights how the everyday, the gestural, and the affective on the one hand can exist simultaneously, and at times in tension with, larger, more representational political expressions on the other. It thus avoids fetishizing creative ‘resistance’ or ‘dissent’, while nonetheless analyzing art in a revolutionary moment, by grounding creative expression more historically and with analytical attention to how it reanimates long-standing debates among Arab intellectuals regarding the role of the ‘artist’.