Subjectivity and the Obliteration of Meaning: Contemporary Art, Activism, Social Movement Politics
Subjectivity and the Obliteration of Meaning: Contemporary Art, Activism, Social Movement Politics
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主体性与意义的抹杀：当代艺术、行动主义、社会运动政治
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发表时间：
2016
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通讯作者：
A. Flynn
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作者：
A. Flynn
在这篇文章中，我分析了社会运动政治和当代艺术干预越来越多地跨越一个多孔边界的概念，无论是在实践、关系还是制度方面。在尼古拉斯·布里奥对20世纪90年代艺术的开创性解读的前提下，我认为“关系美学”理论（2002）提供了一个综合平台，从中我们可以理解具有激进内涵的艺术干预如何日益远离乌托邦和规范，从而更广泛地回应社会运动政治的“主观转向”。基于对巴西当代艺术家和社会运动参与者的实地考察，本章将关系美学作为区分各种形式的当代艺术干预的标准。通过与激进政治的民族志学者的对话，我认为，一种强调短暂性、“多样性的绝对中心”和不同形式的不和谐的分析，使我们能够富有成效地理论化主体性是如何被阐述和意义是如何被创造的。如果艺术真的是“迫切性”的所在地，那么理解这些过程是如何被争议的，就是把握先兆政治是如何对不久的将来产生影响的。
In this article I analyse the notion that social movement politics and contemporary art interventions increasingly traverse a porous boundary, be it in terms of practices, relations, or institutions. Premised on Nicolas Bourriaud’s seminal reading of 1990s art, I contend that the theory of “relational aesthetics” (2002) offers a synthetic platform from which we can understand how artistic interventions with activist connotations are increasingly moving away from the utopian and prescriptive, and thus echoing the “subjective turn” of social movement politics more widely. Based on fieldwork with contemporary artists and social movement actors in Brazil, the chapter mobilises relational aesthetics as a criteria to differentiate various forms of contemporary art intervention. Through conversation with ethnographies of radical politics, I argue that an analysis that foregrounds ephemerality, the “absolute centrality of diversity”, and different forms of dissonance, allows us to productively theorise how subjectivity is elaborated and meaning created. If art really is the locus of “imminence”, then understanding how these processes are contested is to grasp how prefigurative politics can have consequences for the immediate future.