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Intellektuelle Kämpfe um Tanzkultur im Zeichen des Peronismus
Series: TanzScripte, 23

(dt. Flüchtige Zeiten: Leben in der Ungewissheit, Hamburg 2008. Hester Dibbits: Vertrouwd bezit: materiële cultuur in Doesburg en Maassluis, 1650- 1800, Nijmegen 2001. Hester Dibbits, Marlous Willemsen: »Stills of Our Liquid Times«, in: Sophie Elpers und Anna Palm (Hg.): Die Musealisierung der Gegenwart: Von Grenzen und Chancen des Sammelns in kulturhistorischen Museen, Bielefeld 2014, S.  153- 174. Aidan McGarry, James Jasper: The Identity Dilemma: Social Movements and Collec- tive Identity, Philadelphia 2015. Jasmijn Rana, Marlous Willemsen and Hester Dibbits

Zu einer neuen Ästhetik des Widerstands. Stuttgart 21, Arabischer Frühling und Occupy in theaterwissenschaftlicher Perspektive
Series: Theater, 112

. Against this background, the contribution discusses two practical fields in which art and society interact. These consist of an overlap- ping of art production and social movement on the one hand, and the edu- cational mandate of art on the other. The cultural theorist Néstor García Can- clini initially emphasizes the “aesthetic potential” of social movements. How- ever, in a subsequent theoretical development, he ceases to recognize art- works as mere products of the artistic field (Bourdieu), but instead sees them as, “epistemological spaces, in which art and

dieser Arbeit der ausufernde und teleologisch begründete Utopiebegriff 35 Vosskamp, Wilhelm: Einleitung, in: Utopieforschung, Bd. 1, S. 3. 36 Mähl, Hans Joachim: Der poetische Staat, S. 274. 37 Braungart, Wolfgang: Die Kunst der Utopie, S. 9. 38 Besonders: Voßkamp, Wilhelm: Selbstkritik und Selbstreflexion, S. 233-243. 39 Voßkamp, Wilhelm (Hrsg.): Utopieforschung. 40 Poldervaart, Saskia: Utopian Aspekts of Social Movements. 14 | NEUE ORTE DER UTOPIE Ernst Blochs nicht geteilt, doch seine

of social movements. The museums of democracy became temples of a secular cult. Through this, museums had become a battleground and instrument of those who wanted to bring into play the (new) nations and regions, with their own claims to political validity and power. In 1857, when liberal representatives of the bourgeoisie in Vorarlberg formed a state museum association and demanded the foundation of a state museum, the unity invoked (and thereby ultimately the invention of the state of Vorarlberg) was expressed in the form of a political separatism from

and poststructuralist political theory), in the art world (we can think for instance of the numerous shifts, from Russian constructivism via the ‘happening’ to the critique of the institution) and in activism (in the new 7 | O. Marchart, Die kuratorische Funktion, pp. 172–179, and C. Mouffe, Agonistics, pp. 85–105. 8 | See H. Lidchi, The Poetics and the Politics of Exhibiting Other Cultures, pp. 151–222. 9 | See R. Muttenthaler/R. Wonisch, Gesten des Zeigens. Inside the Post-Representative Museum 177 social movements since 1968 and, more explicitly, in the wake

The author, supported by Guareschi and Jovchelovitc11, identifies the social representations in various phenomena, such as in conversations, in the streets, in the mass media, in informal channels of communication, social movements, acts of resistance and in all social places, among which we can include museums.12 The role played by communication in the emerging and making of social representations and in their consequences13 is a fundamental element in Moscovici’s theory. Considering that museums and their exhibitions are a means of communication and a place

, p. 29. 40 | Ibid., p. 39. Contact Zone (Un)realised 171 social movements in the milieus surrounding these exhibitions, and of asso- ciated transversal coalitions which were made possible through the initiators’ claim of addressing diverse audiences. Six years after the first exhibition, the pastoral couple opened Toynbee Hall, a so-called ‘social settlement’, within which both the aims of the mission and the transversal practices could be articulated more systematically.41 Based there, artists were actively involved in supporting key strikes, which were

between modernism and postmodernism, Amsterdam 2001 Poldervaart, Saskia: The concepts of utopianism, modernism and postmod- ernism, community and sustainability, in: dies. u. a. (Hrsg.): Contempo- rary Utopian Struggles. Communities between modernism and post- modernism, Amsterdam 2001, S. 11–30 Poldervaart, Saskia: Utopian Aspects of Social Movements in Postmodern Times: Some Examples of DIY Politics in the Netherlands, in: Lyman Tower Sargent (Hrsg.): Utopian Studies, Journal of The Society for Utopian Studies, Vol. 12, No. 2, 2001, S. 143–163 Puzicha, Michaela