The relational artwork and the antagonism

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The relational artwork and the antagonism

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dc.contributor.author Nilsson, Emilie
dc.date.accessioned 2010-06-29T06:50:30Z
dc.date.available 2010-06-29T06:50:30Z
dc.date.issued 2010 en
dc.identifier.uri http://hdl.handle.net/2043/10355
dc.description Udgangspunktet for at skrive denne opgave er interessen for at undersøge, hvorvidt det lykkes den relationelle kunst at indtage en kritisk position i dagens samfund. I en verdensorden, hvor kapitalismens varegørelse kan synes at have indoptaget kunstens kritiske potentiale, kan det være svært at forestille sig den position, hvorfra kunsten skulle have en reel politisk og social betydning. Ikke desto mindre er det min grundlæggende antagelse, at kunsten har og altid vil have en priviligeret mulighed for at opfordre beskueren til at stille spørgsmålstegn ved det bestående. På baggrund af en kritisk tekstanalyse af Nicolas Bourriauds essaysamling Esthetique Relationelle (1998) hvor blandt andre teoretikerne Claire Bishop, Stewart Martin og Grant Kester inddrages til en nuanceret diskussion. Samt gennem en analyse af værkerne It is What it Is, Conversations About Iraq og The American War. –Argumenterer jeg for, at den relationelle æstetik ikke formår at skabe en reel kritik af de sociale og politiske diskurser som omgiver os alle. Der efterlades dog et lille håb for kritikken idet Bishop, inspireret af den Belgiske teoretiker Chantal Mouffe, introducerer ideen om antagonismen som mulig kritikbærer. en
dc.description.abstract The primary foundation for writing this thesis originates from my interest in, whether or not there exists a critical potential, within the art form of relational aesthetics. In a World order, where capitalism seems to overshadow the critical potential within the arts, it can be difficult to imagine the position, from where art could have a significant influence in changing political and social issues. Regardless, it is my fundamental belief, that art will always have a privileged possibility of urging the viewer to question the existing. Grounded in a critical text analysis of Nicolas Bourriuads’ essay collection, Estetique Relationelle (1998), where, amongst other theorists, Clare Bishop, Stewart Martin and Grant Kester are implicated for a nuanced discussion. Accompanied by an analysis of the two relational works; It is What it Is, Conversations About Iraq and The American War, -This thesis argues that relational aesthetics does not succeed in creating a real critique of the social and political structures that surrounds us. Though, Bishop, inspired by the Belgian theorist Chantal Moueffe, introduces the idea of the antagonism as a possible critique carrier, and hereby leaves a fragment of hope for critique. en
dc.language.iso dan en
dc.publisher Malmö högskola/Kultur och samhälle en
dc.subject relationel æstetik en
dc.subject antagonisme en
dc.subject demokrati en
dc.subject relationskunst en
dc.title The relational artwork and the antagonism en
dc.type M3 en
dc.setspec.uppsok FineArt en
mahlocal.xprt.faculty2019 KS
mahlocal.xprt.institution2019 K3
mahlocal.xprt.program Kulturvetenskap och Litteraturvetenskap
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