Artistic Practices and the Artistic Dispositif – A Critical Review

Marxen, Eva

doi:10.7440/antipoda33.2018.03

Cited by 9 publications

(18 citation statements)

References 13 publications

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“…According to Deleuze (1995) and Guattari (1995Guattari ( , 2012, these artistic "assemblages" should result "from the flow of desire," "in relation to others, to language, to images and to things. It is this drifting and at least partially delirious flow of productive energies that alone can articulate a collective statement" (Holmes, 2006, p. 412;Marxen, 2018; see, for qualitative inquiry, Mazzei, 2017). Finally, the artistic dispositif concludes a collective statement of desire.…”

Section: The Artistic Dispositifmentioning

confidence: 99%

“…This phenomenon of transdisciplinarity or extradisciplinarity of the arts has been conceptualized as the de-definition of art (García Canclini, 2014), de-/re-territorialization of art (Carnevale, 2013), and re-definition of art (Marxen, 2009a(Marxen, , 2009b(Marxen, , 2018; see, for the extradisciplinarity, Holmes, 2007). Contemporary art is able "to combine theoretical, sociological or scientific research with a feel for the ways that aesthetic form can influence collective process, so as to de-normalize the investigation and open up both critical and constructive paths" (Holmes, 2006, p. 411).…”

Section: The Artistic Dispositifmentioning

confidence: 99%

“…Yet, in face of a steady instrumentalization of the arts, many artistic institutions, such as museums, universities, art schools as well as poetical and cultural collectives, often function like normalizing dispositifs, following the rules and imperatives of the finance economy and the dominant discourse of neoliberalism. Bourdieu and Haacke (1995) have very well explained how mainly cooperate foundations abuse the arts to accumulate symbolic capital, "good press," to hide behind less popular capitalist methods (Haacke, 1975;Marxen, 2018).…”

Section: The Artistic Dispositifmentioning

confidence: 99%

“…In this spirit, the abuse of the arts to favor fascism has long before been described by Walter Benjamin (1968Benjamin ( , 1998 and Bertolt Brecht (2014), among others. Their thoughts have reached high relevance today (see Marxen, 2018Marxen, , 2019Marxen, , 2020.…”

Section: Declaration Of Conflicting Interestsmentioning

confidence: 99%

“…2. See, for the explanation of critical contemporary art, Longoni (2011), Marxen (2018, Mouffe (2007Mouffe ( , 2012.…”

Section: Declaration Of Conflicting Interestsmentioning

confidence: 99%

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Researching With Poetic and Artistic Dispositifs

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This article presents the experience of the workshop Investigar con dispositivos artísticos y poéticos (Researching with poetic and artistic dispositifs), carried out in the special interest group A Day in Spanish and Portuguese (ADISP), in the frame of the Fifteenth International Congress of Qualitative Inquiry (ICQI), in 2019. The goal of this workshop was to show the panorama of the uses and implications of the arts, poetry, and narratives as a methodological strategy in qualitative research. The theoretical framework to development the workshop included the poetic inquiry approach and the artistic dispositif. The experience of the workshop shows the social, political, and critical impact of combining art and poetry. This combination allows researchers to go beyond more traditional research practices such as interviews and ethnographies. We hope to contribute to promote these alternative methodologies in the Latin American researchers’ communities and audiences.

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Section: The Artistic Dispositifmentioning

confidence: 99%

Section: The Artistic Dispositifmentioning

confidence: 99%

Section: The Artistic Dispositifmentioning

confidence: 99%