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Using the #Feesmustfall Movement as a Pivot for Discussion | 195
Migration, PoliticalArt and Digitalization | 211
Sara Wiederkehr Gonzáles
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The Role of the Facebook Group Seksualiti Merdeka in the Malaysian
LGBT Community | 227
Veera Helena Pitkänen
Finding a Visual Voice
The #Euromaidan Impact on Ukrainian Instagram Users | 239
Karly Domb Sadof
Google A Religion
E xpanding Notions of Religion Online | 251
Notes on Contributors | 263
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Mateusz Borowski, Małgorzata Sugiera
In the last two decades, the landscape of performative art practices has radically
changed. New forms at the crossroads of science and fiction, ‘pure’ and politicalart, and one- and multi-person projects have been rapidly emerging and devel-
oping. The new forms hybridize various media, merging live and mediated par-
ticipation to offer individualized experiences on both an affective and cognitive
level. As a consequence, every artifact produced in these arrangements becomes
a unique example of a new
POLITICALART: NO CONCLUSION
This leads to the question of the political potential of art. To my mind, this is a key
question in the intersections of the humanities and the social sciences: how do we situ-
ate the political of art elsewhere than in the thematic domain, which is so dangerously
close to propaganda? In more subtle and effective politicalart, a compelling narrative
unfolds, but not as a series of events told ›in the third person‹. Rather, the narrative is
performative, as the work stages an encounter between the work and the viewer. In
WISSEN IN BEWEGUNG – DAS WISSEN DER KÜNSTE | 161
„The idea of meaning being fixed inside an artwork seems reductive; the best art for
me provokes new thoughts and meanings, again and again. The problem or weak-
ness of some so-called ‚politicalart‘ is often in direct relation to its apparent success
in communicating a clear and simple message. I find it rewarding when people read
new meanings into our work, meanings that we didn’t know about.“5
Da Forsythes „choreographic objects“ sich in einem
index is a sign that is physically or causally connected to its
meaning. Linguistic deixis is a specific form of indexicality. It has as specificity that
it is bound to the subject, as his or her extension in Bergson's sense. Psychic space
is material, and the primary thrust of politicalart lies in that materiality (see fig. 4
For the concept of psychic space, the best source is once more Silverman.
In her theory of the formation of subjectivity and the place of the body therein, she
“(...) one's apprehension of self is keyed both to a