TRANSformacije Collection, book no. 36
Translation: Sonja Dular
Collection Editor: Gregor Moder
17 × 24cm
© Maska, Ljubljana, 2015
ISBN 978-961-6572-40-8
This book was published in Slovenian.
Jacques Rancière: Aisthesis: The Distribution of the Sensible: Politics and Aesthetics
In 2000, French philosopher Jacques Rancière published The Distribution of the Sensible: Politics and Aesthetics (Le Partage du sensible: Esthétique et politique), in which he presented the concept of three “artistic regimes” that he derived from historical sensible regimes without introducing schematic theses on their disappearance or substitution: they are the ethical regime of images (the Platonic regime of art), the representative regime of art (the Aristotelian regime of art) and the aesthetic regime of art (the contemporary regime of art). The latter is a paradigm with a structure of connections between art and the everyday that surpasses the classical territoriality of practices, skills, and traditional classifications of various arts – it is happening in the surpassing of borders between artistic practices and life.
Rancière gives special emphasis to this paradigm in Aisthesis: Prizori iz estetskega režima umetnosti (Aisthesis: Scènes du régime esthétique de l’art, 2011). In 14 chapters, he rethinks 14 art cases (of politics) as events or even “disturbances” that intervene into the order of existing distributions of the sensible in art by addressing what the other two regimes of art did not address before. These are cases from the field of art and the discourses on art from the period between 1764 and 1941, which gradually introduce previously unexplored ways of creating, producing, accepting, and thinking art.
TRANSformacije Collection, book no. 36
Translation: Sonja Dular
Collection Editor: Gregor Moder
17 × 24cm
© Maska, Ljubljana, 2015
ISBN 978-961-6572-40-8
This book was published in Slovenian.
Enemy of Art
Ko je bil izvor zla prepoznan, je naloga postala jasna. Sovražnika, ki ogroža samo prihodnost umetnosti in kulture, je treba zavrniti: kapitalizem, nedvomno, toda kapitalizem v svoji najnevarnejši različici – tiste kmečke sinove in hčere, ki so se naučili brati in pisati in so si nato domišljali, da so jim všeč lepe reči in da z umetnostjo krasijo svoje življenje. Če se smemo od nastopa socializma nadejati zveličanja kulture, je potrebno, da si intelektualci in umetniki, ki se zavedajo zakona kapitalizma, najprej prizadevajo za zaprtje meja, ki ločujejo resno umetnost, zaposleno s svojimi lastnimi materiali in postopki, od zabav za ljudstvo in dekoracij njihovih domov. Minil je čas potovanj umetnikov in pisateljev v nedrje ljudstva in »ljudske kulture«, čas umetniških oblik, ki so hotele prepisati ritme industrijske družbe, delovne dosežke in boje zatiranih, nove oblike urbane izkušnje in oblike njene širitve na vse družbene sfere. Clement Greenberg in »resni« marksistični intelektualci in umetniki, ki ga obkrožajo, hočejo pozabiti na neko določeno Ameriko, na Ameriko potujoče in angažirane umetnosti new deala, še natančneje pa na Ameriko kulturne demokracije v Whitmanovem slogu. Toda tisto, čemur razglašajo konec, je še splošneje zgodovinski modernizem, ideja nove umetnosti, sinhronizirane z vsemi vibracijami univerzalnega življenja: umetnosti, ki je zmožna sočasnega pridruževanja pospešenim ritmom industrije, družbe in urbanega življenja, in izražanja svoje neskončne resonance v najobičajnejših minutah vsakdanjega življenja. Ironično, prihodnje generacije bodo tej zahtevi po koncu tovrstne umetnosti nadele celo ime tistega, kar naj bi preminilo. Imenovale ga bodo modernizem.
About the Author
Jacques Rancière (1940), born in Alger, is Emeritus Professor of aesthetics and
politics at the University of Paris VIII, where he lectured at the Department of
Philosophy from 1969 to 2000. He also lectured at College International de
Philosophie, at the European Graduate School, and numerous American universities. His works transverses the fields of philosophy, social history, politics, and aesthetics. Maska also published the translation of his Emancipated Spectator (Emancipirani gledalec), while he regularly publishes academic articles in the Maska journal.
Content
Deljena lepota
Mali poulični bogovi
Plebejčeva nebesa
Pesnik novega sveta
Gimnasti nemogočega
Ples svetlobe
Statično gledališče
Dekorativna umetnost kot socialna umetnost: tempelj, hiša, tovarna
Mojster površin
Tempeljsko stopnišče
Stroj in njegova senca
Veličastnost trenutka
Videti stvari skozi stvari
Krut sijaj tega, kar je
Rok Benčin: Metaphorical and Metonymical Equality: From Rhetoric to Aesthetics
Reception in Public
Jela Krečič: Po obisku filozofa Jacquesa Rancièra v Ljubljani: umetnost je ustvarila naš vsakdan
Delo / 1. 12. 2015
The book deals with the aesthetic regime of art which, in contrast to the previous representational regime, disowns traditional hierarchies and rules of art: what can art focus on, how can it do it, and how must in remain separated from life while doing so? In contrast, the past two-and-a-half centuries, art has been a field of special experiences, it brings various forms of being, thinking, and perceiving, a special distribution of the sensible. Rancière believes that what art choses as its topic, how it shapes its matter influences the way we perceive the world, the way we see social reality with all its hidden and revealed problems.
Jacques Rancière: “Govoriti o tretji svetoni vojni je neumnost”
intervju
Delo / Sobotna priloga / 11. 12. 2015
“I think that the biggest artistic provocation today would be to provoke modernity, neo-liberalism, or any model of capitalism in which we live. The best artworks, i.e. those that I believe to reshape the ways of our perception, are those that are usually not accessible to the wider audience. For me, art is first and foremost an environment of understanding events, temporality, and space, politics of art, in which everything should be possible; I am not as interested in how this art should be. I like art that
relaxes me.”
Filozof Jacques Rancière: Politika se danes dogaja kot »civiliziranje« vojne
intervju
Dnevnik / 5. 12. 2015
“When I was still a child, there were collectivities, workers, immigrants, who – for the price of huge conflicts and fights, of course – tried to construct themselves as political subjects. Today, the situation is completely different. The forms of criminalisation that are appearing in relation with the refugees are the symptom of the collapse of collective structures. There are no more political forms of inclusion and exclusion, which means that exclusion is only treated in the policing way of maintaining the currents and the segregation of the population. Refugees are no longer subjectivised in a political way, but through religion, culture. I don’t see a solution to this problem, I only see a collapse of politics that took over the police methods. When politics disappear, there is war. Today, politics is happening as a ‘civilising’ of the war.”
O filmih kot izkustvih, izkušjah in skušnjavah
intervju
Ekran / 21. 12. 2015
“I find important that, for the people who live for the film, cancels the border between life and entertainment, but also between art and entertainment. I believe that what is in the centre of Godard’s project of Histoire(s) du cinema (1988, Jean-Luc Godard) is important: cinematography is actually a part of life experiences of people who are living in the 20 th century.”