Creative Practice and Transnationalism: Visual Art, Aesthetics and Resistance

无论是通过在网上分享的照片，还是通过博物馆和其他机构的展览，国际关系和政治往往都是由视觉来“调解”的。然而，艺术在社会和政治变革中往往扮演着积极的角色。我的研究探索了艺术家、创意产品和艺术产出在跨国抵抗运动中所扮演的角色。它的目的是分析艺术如何超越了仅仅代表政治，而是创造了政治。它通过关注缅甸侨民中艺术家和创意人士的作品来做到这一点，特别是那些来自克钦等少数民族社区的艺术家和创意人士的作品。这项研究着眼于跨国抵抗如何在文化、美学和艺术方面得到巩固。我的工作还旨在重新构建知识是如何通过实践为导向的方法产生的。生产作为一种方法在信息检索和政治中被广泛地用作一种方法论方法，尽管它具有产生新的和有情感的知识来源的巨大潜力。我的项目寻求通过直接与艺术家合作作为一种研究方法来建立这种日益增长的方法。这一项目寻求对美学在我们的日常生活和政治生活中所具有的力量产生新的经验、方法和理论见解，从而构成更广泛的跨国抵抗。

International relations and politics are often 'mediated' by the visual, whether through photographs shared online or through exhibitions in museums and other institutions. Yet, art often plays an active role in social and political change. My research explores the role that artists, creative production and artistic outputs play in transnational movements of resistance. It aims to analyse how art moves beyond just representing politics, to creating it. It does so by focusing on the work of artists and creatives in Myanmar's diaspora, especially those from ethnic minority communities such as the Kachin. This research looks at the ways in which transnational resistance can be consolidated in cultural, aesthetic and artistic ways. My work also aims to re-frame how knowledge is produced through practice-led methods. Production as method in IR and politics is widely underused as a methodological approach, despite it holding immense potential to generate novel and affective sources of knowledge. My project seeks to build on this growing approach by collaborating with artists directly as a method of research. This project seeks to generate new empirical, methodological and theoretical insights into the power that aesthetics hold in our daily and political lives, thereby constituting a wider spectrum of transnational resistance.