Protestna umetnost kot moment upora

diplomsko delo

Karla Tepež (Author), Žiga Vodovnik (Mentor)

Abstract

V diplomskem delu se posvečamo rekonceptualizaciji politike ter analizi razmerja med umetnostjo in politiko preko koncepta infrapolitike, s katerim vzpostavimo umetnost kot vsakdanjo formo upora. Z razširjenim prostorom političnega se nato posvetimo politiki estetike in uporabimo ranciérevsko branje umetnosti kot forme emancipacije v estetskem režimu umetnosti, ki nam omogoči percepcijo političnih sposobnosti umetnosti. Aktiviranje protestne umetnosti kot momenta upora kontekstualiziramo skozi avantgardna gibanja 20. stoletja, ki so zabrisovali meje med umetnostjo in življenjem. Pomemben premislek protestne umetnosti izhaja tudi iz ponovnega branja nekaterih kritičnih teoretikov, ki se ukvarjajo s kolonizacijo vsakdanjega življenja, kar beremo kot enega konstitutivnih elementov protestne umetnosti. Branje izbranih teorij politike estetike, avantgardnih gibanj in kritičnih teorij pomembno prispeva k poskusu konceptualizacije protestne umetnosti, kar skozi celotno delo apliciramo na izbrane umetniške prakse. Moment upora je tako ključen za razumevanje protestne umetnosti, saj kaže na potencial za imaginacijo in realizacijo družbenih sprememb – kot takšna je protestna umetnost izrazito politična in deluje kot praksa upora.

Keywords

protestna umetnost;infrapolitika;avantgardna gibanja;politika estetike;Avantgarda (estetika);Umetnost in družba;Vsakdanje življenje;Diplomska dela;

Data

Language:	Slovenian
Year of publishing:	2019
Typology:	2.11 - Undergraduate Thesis
Organization:	UL FDV - Faculty of Social Sciences
Publisher:	[K. Tepež]
UDC:	7.01:32(043.3)
COBISS:	36273501
Views:	3214
Downloads:	822
Average score:	0 (0 votes)
Metadata:

Other data

Secondary language:	English
Secondary title:	Protest Art as a Moment of Resistance
Secondary abstract:	In this diploma thesis, we focus on the reconceptualisation of politics and on the analysis of the relationship between art and politics based on the concept of infrapolitics, which helps us establish art as an everyday form of resistance. With an extended space of political, we then use Ranciére’s reading of art as a form of emancipation in the aesthetic regime of art to perceive political capabilities of art. We contextualise how protest art became active as a moment of resistance through avant-garde movements of the 20th century, which blurred the boundaries between art and life. An important consideration of protest art also lies in a new reading of critical theory focussing on the colonisation of everyday life, which we can read as a constitutive element of protest art. Readings of selected politics of aesthetics theories, avant-garde movements, and critical theories have an important contribution when we try to conceptualise the notion of protest art, which we also illustrate with selected artistic practices. The moment of resistance is therefore seen as a key element of protest art conceptualisation because it points at the potential of art for imagination and realisation of social changes – as such, protest art is distinctively political and works as a praxis of resistance.
Secondary keywords:	Avant-garde (Aesthetics);Arts and society;Everyday life;Graduate theses;
Type (COBISS):	Bachelor thesis/paper
Study programme:	0
Embargo end date (OpenAIRE):	1970-01-01
Thesis comment:	Univ. v Ljubljani, Fak. za družbene vede
Pages:	45 str.
ID:	11185788