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.

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.

The Power of the People

2020 ◽  
pp. 166-182
Author(s):  
Ari Hirvonen ◽  
Susanna Lindroos-Hovinheimo
Keyword(s):  
Political Philosophy ◽  
Popular Sovereignty ◽  
Contemporary Theory ◽  
Modern Democracy ◽  
Theoretical Idea ◽  
Constituent Power ◽  
Alain Badiou ◽  
Jacques Ranciere ◽  
The People ◽  
Jacques Rancière

In this chapter Hirvonen and Lindroos-Hovinheimo argue that the revolutionary power of constituent power and popular sovereignty are relevant conditions of radical emancipatory and egalitarian politics. How the people become the people – and what makes the people in its becoming – are relevant questions in modern democracy. The article considers the power of the people as a theoretical idea and political possibility. It brings together the older tradition of political philosophy with contemporary theory by discussing Jean-Jacques Rousseau’s ideas together with those of Jacques Rancière, Jean-Luc Nancy, and Alain Badiou.

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.

Populism and Cosmopolitanism

2017 ◽  
Author(s):  
James Ingram
Keyword(s):  
Roman Republic ◽  
The Other ◽  
Popular Politics ◽  
Jacques Ranciere ◽  
Ernesto Laclau ◽  
Jacques Rancière ◽  
History Of ◽  
Recent Debate

Populism and cosmopolitanism are commonly regarded as antitheses, reducing populism to communalism and cosmopolitanism to elitism. This chapter develops a more nuanced view by turning to the early histories of both phenomena. In Diogenes the Cynic, cosmopolitanism’s ancient inventor, it finds evidence less for elitism than for resistance to politics as such. In the populares, populists of the Roman Republic, it finds the origins of a long history of inclusive popular politics. Drawing on a recent debate between Ernesto Laclau and Jacques Rancière, the chapter argues that populism and cosmopolitanism are essentially ambivalent. Insofar as populism can be inclusive or exclusive and cosmopolitanism elitist or popular, the two can overlap, and each can usefully be regarded as a check on the other.

scholarly journals Reflexões sobre a avaliação final de uma disciplina eletiva - Reflections on the final evaluation of a discipline elective

2016 ◽  
Vol 5 (10) ◽  
pp. 45
Author(s):  
Fellipe Eloy Teixeira Albuquerque
Keyword(s):  
Martin Heidegger ◽  
Evaluation Process ◽  
Final Evaluation ◽  
Alain Badiou ◽  
Jacques Ranciere ◽  
Peter Greenaway ◽  
Jacques Rancière ◽  
History Of ◽  
Art Philosophy ◽  
The Relationship

Com carga horária de 60 horas a disciplina eletiva do curso de Mestrado Acadêmico em História da Arte, da Unifesp - campus de Guarulhos, possibilitou muitas questões acerca de como a relação entre Arte e Filosofia foram apreendidas durante a História. A consulta de diversos autores como Alain Badiou, Martin Heidegger, Giorgio Agambem e Jacques Rancière ajudaram na compreensão desse processo, assim como a produção artística de propositores como Vik Muniz, Peter Greenaway e Ngwenya. Para a avaliação final desta disciplina os professores responsáveis solicitam a elaboração de um texto que, a partir das referências trabalhadas em aula, ajudassem o aluno a formular um conceito de Arte. Esse artigo vem reunir as principais reflexões levantadas durante todo o processo de avaliação da disciplina que conceituou uma possibilidade de entender a História da ArtePalavras-chave: avaliação, arte, filosofia. REFLECTIONS ON THE FINAL EVALUATION OF A DISCIPLINE ELECTIVEAbstractWith a workload of 60 hours to elective Academic Master's course in History of Art, Unifesp - Campus Guarulhos, enabled many questions about how the relationship between Art and Philosophy were seized during history. Consultation of various authors such as Alain Badiou, Martin Heidegger, Giorgio Agambem and Jacques Rancière helped in understanding this process, as well as the artistic production of proposers as Vik Muniz, Peter Greenaway and Ngwenya. For the final evaluation of this discipline the responsible teachers requested the preparation of a text which, from references worked in class, help the student to formulate a concept of Art. This article is to bring together the main reflections raised during the evaluation process of discipline that conceptualized a chance to understand the History of Art.Key-words: evaluation, art, philosophy.

scholarly journals La Fotografía de Ana Álvarez-Errecalde: el reciclaje de las formas en la construcción de sentido e identidad

ILUMINURAS ◽  
2021 ◽  
Vol 22 (56) ◽  
Author(s):  
María Isabel Imbaquingo ◽  
Carlos Hugo Aulestia
Keyword(s):  
The Political ◽  
Photographic Image ◽  
Jacques Ranciere ◽  
Common Space ◽  
Palabras Clave ◽  
Jacques Rancière ◽  
Post Production ◽  
Contemporary Artist ◽  
The Aesthetic

El presente texto explora la obra visual de la artista contemporánea argentina Ana Álvarez-Errecalde en la que se opera una estrategia de transgresión de las representaciones aceptables, según los regímenes de comprensión del arte dominante. El trabajo de esta autora pretende exhibir ante los receptores ciertas representaciones de los femenino y la maternidad, que en un marco estrictamente estético serían deslegitimadas o desacreditadas como un discurso de reivindicación política.Para interpretar de manera pertinente este trabajo es necesario explorar las reflexiones  de Jacques Rancière sobre los vínculos entre los regímenes de comprensión de lo estético, de naturaleza excluyente, y la noción de política, que busca la igualdad en la producción y recepción del arte. Además, se examinan los conceptos propuestos por Nicolas Bourriaud como la reapropiación de las formas y la continuidad del relato en la categoría de postproducción.Como resultado de esta exploración, en las propuestas fotográficas analizadas ‘Tres gracias sangrantes’ y ‘Anunciación’, la artista consigue generar un espacio común para mostrar la trascendencia política en los fenómenos estéticos y por tanto generar un nuevo reparto de lo sensible, en palabras de Rancière. Palabras clave: repartición de lo sensible; regímenes de lo estético, imagen fotográfica; postproducción; cuerpo.  Ana Alvarez-Errecalde’s photography: the building of sense and identity thru recycling of shapes Abstract: This text explores the visual work of the Argentine contemporary artist Ana Alvarez-Errecalde, in which a strategy of transgression of acceptable representations is used, according to the systems of understanding of the predominant art. The work of this author is intended to exhibit to the viewers, certain representations of feminine and motherhood, which under a strictly aesthetic framework, would be discredited as a discourse of political vindication. In order to understand this work in an appropriate way, it is necessary to explore Jacques Rancière's reflections about the links between the selective nature of the systems of understanding the aesthetic and the political notion, which seeks equality in the production and public reception of art. In addition, we will examine the concepts proposed by Nicolas Bourriaud, such as the art of appropriation and the production of different story lines and alternative narratives in post-production notion.As a result of this arrangement, in the photographic proposals analyzed 'Three bleeding graces' and 'Annunciation', the artist manages to generate a common space to show political significance in aesthetic phenomena and, therefore, in the words of Rancière, create a new sensitive arrangement.Keywords: distribution of the sensible; esthetic regime; photographic image; postproduction; body.

There’s No Regime beyond Representation

2018 ◽  
Vol 62 (1) ◽  
pp. 215-234
Author(s):  
Michaela Fiserova ◽  
Keyword(s):  
The Other ◽  
The Political ◽  
Jacques Ranciere ◽  
Political Conception ◽  
Other Hand ◽  
Jacques Rancière ◽  
The Aesthetic ◽  
The One

The paper invites a rethink of the political conception of Jacques Rancière, a philosopher who devoted considerable reflexion to the problem of the sharing of the sensible. Rancière proposes considering the aesthetic regime without the concept of representation. According to the author, this leads him to a paradox: on the one hand, he states that the aesthetic regime takes images for art; on the other hand, he doesn’t pay attention to the fact that it shouldn’t be possible to conceive of any regime of sharing without the concept of representation. Therefore, the author proposes a deconstructive reading of Rancière’s critique of representation, demonstrating that if the contemporary image is conceived and produced in order to be shared, it can’t be freed from representation. Finally, the author puts forth the notion of meta-representation as a solution avoiding Rancière’s antinomies.

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