An Electronic Conversation between Thomas Hirschhorn and Jacques Rancière: Presupposition of the Equality of Intelligences and Love of the Infinitude of Thought

2014 ◽  
Vol 31 (7-8) ◽  
pp. 101-110 ◽  
Author(s):  
Thomas Hirschhorn
Keyword(s):  
Vital Function ◽  
Art And Politics ◽  
Jacques Ranciere ◽  
Collaborative Art ◽  
Jacques Rancière

This article is an email conversation between the artist Thomas Hirschhorn and the philosopher Jacques Rancière that took place from December 2009 to February 2010. The images of ‘The Bijlmer Spinoza-Festival’, an artwork by Thomas Hirschhorn that occurred in the outskirts of Amsterdam in 2009, portray the levels of engagement by the local participants and the interaction with invited speakers and performers. The interview with Jacques Rancière addresses the problem of classifying collaborative art projects within the conventional categories of art and politics. It explores the vital function of artistic presence and the possibility of establishing a mode of aesthetic exchange that proceeds from the experience of equality.

Aesthetic Revolution and Modern Democracy: Rancière’s Historiography

2016 ◽  
Author(s):  
Gabriel Rockhill
Keyword(s):  
Alternative Account ◽  
Modern Democracy ◽  
Art And Politics ◽  
Jacques Ranciere ◽  
Jacques Rancière ◽  
History Of ◽  
Historical Relationship ◽  
The Aesthetic

This chapter turns to the work of Jacques Rancière, who has, perhaps more than any other prominent living philosopher, extended the historical and historiographical work of Foucault by proposing an archeology of aesthetics, with a particular concern for its relationship to the history of politics. In doing so, however, he has stalwartly refused to provide a genealogical account of the emergence of aesthetics, which appeared at more or less the same time as modern democracy. This chapter thereby sets as its task a critical reassessment of the genealogical limitations of Rancière’s account of the historical relationship between art and politics. It is in this light that it advances an alternative account of historical causality by examining the variable conjuncture of determinants that contributed to the emergence of what Rancière calls the aesthetic regime of art.

Jacques Rancière and the Politics of Art Cinema

2018 ◽  
Author(s):  
James Harvey
Keyword(s):  
New York ◽  
Case Studies ◽  
Social Order ◽  
The Political ◽  
Political Structure ◽  
Art Cinema ◽  
Art And Politics ◽  
Jacques Ranciere ◽  
The World ◽  
Jacques Rancière

In Jacques Rancière and the Politics of Art Cinema, James Harvey contends that Rancière’s writing allows us to broach art and politics on the very same terms: each involves the visible and the invisible, the heard and unheard, and the distribution of bodies in a perceivable social order. Between making, performing, viewing and sharing films, a space is constructed for tracing and realigning the margins of society, allowing us to consider the potential of cinema to create new political subjects. Drawing on case studies of films including Charlie Kaufman’s Synecdoche, New York, Nuri Bilge Ceylan’s Climates and John Akomfrah’s The Nine Muses, this books asks to what extent is politics shaping art cinema? And, in turn, could art cinema possibly affect the political structure of the world as we know it?

Fictioning disagreement: The construction of separation in the work of Jacques Rancière

Maska ◽  
2017 ◽  
Vol 32 (185) ◽  
pp. 64-74
Author(s):  
Bruno Besana
Keyword(s):  
Art And Politics ◽  
Jacques Ranciere ◽  
Natural Modes ◽  
The Arts ◽  
Key Concepts ◽  
Jacques Rancière ◽  
The Subject ◽  
New Form

Although constantly intertwining aesthetic and political considerations, the work of Rancière also forcefully stresses the absence of any evidence in the relation between art and politics. The article uses the theme of this lack of self-evident relation in order to analyse a series of key-concepts of Rancière’s work (regime, contrariété, disagreement, etc.) and, lastly, proposes to read through this reconstruction of its conceptual architecture the place – both conceptual and practical – where a subject can be thought and produced. In this sense, this article proposes to read in Rancière’s work the presence of a structured concept of the subject, the very determination of which is inseparable from the – at once collective and singular – articulation of a space of indetermination and fracture: a space articulating the absence of relation between different modes of interruption of evidences, taking place in the arts and in politics. In this way, Rancière’s work contributes to thinking the subject as groundless, irrelative to any given, specific reality (such as, for instance, ‘humanity’), as a new form connecting together, via a radically new narrative, a series of fractures operated within received, allegedly ‘natural’ modes of classifications of reality.

Freiheit, Gleichheit, Sinnlichkeit–Jacques Rancière, Hegel und die holländische Malerei

2010 ◽  
Vol 55 (2) ◽  
Author(s):  
Leander Scholz
Keyword(s):  
Political Theory ◽  
French Revolution ◽  
Jacques Derrida ◽  
Traditional Concept ◽  
Jacques Ranciere ◽  
Jacques Rancière ◽  
Political Intervention ◽  
The French Revolution

Der Aufsatz geht der These nach, daß die Fundierung der politischen Theorie in einer ästhetischen Theorie bei Jacques Rancière eine Aktualisierung der Losung der Brüderlichkeit aus der Französischen Revolution darstellt. Diese Aktualisierung der Brüderlichkeit als »ästhetische Gemeinschaft« erlaubt es Rancière, an den Klassenbegriff von Marx anzuschließen, ohne die damit verbundene Gemeinschaftserfahrung begrifflich bestimmen und damit an positive Merkmale binden zu müssen. Weil Rancière seine Demokratietheorie vor allem als eine Interventionstheorie angelegt hat, soll die »ästhetische Gemeinschaft« im Unterschied zum Klassenbegriff es ermöglichen, eine prinzipiell unabgeschlossene Reihe von politischen Subjektivierungsprozessen zu denken. Um diese These zu schärfen, wird Rancières Demokratietheorie mit der von Jacques Derrida verglichen, der auf ganz ähnliche Weise das Demokratische der Demokratie in einem Streit gegeben sieht, der jenseits von demokratischen Spielregeln stattfindet, die Losung der Brüderlichkeit jedoch für überaus problematisch hält.<br><br>This article argues that the foundation of political theory in aesthetics by Jacques Rancière can be seen as an actualization of the slogan of fraternalism during the French Revolution. This actualization of fraternalism as »aesthetic community« gives Rancière the possibility to operate with the Marxian concept of classes without positively defining the experience of community. Because Rancière understands democracy as the chance for political intervention, the concept of an »aesthetic community« (as opposed to the traditional concept of classes) allows him to posit an endless process of political subjectification. To sharpen this argument, the article compares Rancière’s understanding of democracy to Jacques Derrida’s, who also focuses on a democratic struggle beyond democratic rules, but is very skeptical about the slogan of fraternalism.

scholarly journals 1932: entre a imagem e a virtualidade

2015 ◽  
Vol 15 (24) ◽  
pp. 23
Author(s):  
Chirsty Beatriz Najarro Guzmán
Keyword(s):  
El Salvador ◽  
Jacques Ranciere ◽  
Jacques Rancière

http://dx.doi.org/10.5007/1984-784X.2015v15n24p23Entre a realidade e sua representação imagética, intervém a subjetividade de quem capta essa realidade, cujas condições intelectuais, sociais e culturais se articulam para a configuração analógica e dessemelhante do rosto imagético, conforme as considerações de Jacques Rancière sobre a natureza das imagens. Nesse sentido, não só se contesta a existência de um discurso único sobre um evento histórico, mas também a univocidade de tal evento. Levando isso em consideração, o documentário 1932: cicatriz en la memoria (2005), dirigido por Carlos Hernríquez Consalvi, para o Museo de la Palabra y la Imagen (MUPI) de El Salvador, apresenta uma narrativa que compreende o levante popular e etnocídio cultural de 1932, como a semente do Partido Comunista (PC) salvadorenho, ao mesmo tempo em que na entrelinha se tece uma contra-narrativa, cuja linha de pensamento vai no sentido contrário, colocando o indígena como protagonista, contestando o discurso oficial sobre os eventos.

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