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Artistic Articulations of Borders and Collectivity from Lebanon and Palestine
Series: TanzScripte, 52
Performative Praktiken in Theater, Medien und Alltagskultur seit 1968
Series: Theater, 14
Zur Verbindung von Theorie und Praxis in der Performance-Kunst. Linda Montano, Genesis P-Orridge und Stelarc
Series: Theater, 94
Theorie, Geschichte und Praktiken der Ent-Unterwerfung
Series: Theater, 113
Neue Artikulationsformen des Politischen in den darstellenden Künsten
Series: Theater, 20
Über die Wiederkehr der Ethik in Theater und Performance
Series: Theater, 26
Elfriede Jelineks Konzept des Sekundärdramas
Series: Theater, 88

Foreword 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 political art, 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

that time, these views were extremely radical in a province or a society whereby it was convenient for artists to consider themselves non-political. But Moleko reasoned that while the arts could be not always be viewed out of a political context and making political art was not necessarily infusing political themes in the work, it is the ‘art as an expression on freedom’ which made it political. The political school programme entails, amongst others: • Advocacy and lobbying of government’s structures (Department of Arts and Culture [DAC], Provincial Arts and

politics, the advocates of relational aesthetics argue that both need to be trans- posed into a communicative practice that, by virtue of being immediately inter- subjective, counteracts social isolation (Bourriaud 2002 [1998]: 8 et seq.). In other words, instead of asserting art’s autonomy in order to represent a utopia unattainable to any concrete politics, art is to become an instrument of the practi- cal-political realization of what is micro-topically possible: assisting in achieving social participation. In effect, however, this theoretical shift merely