“Every Form of Art Has a Political Dimension”

Mouffe, Chantal; Deutsche, Rosalyn; Joseph, Branden W.; Keenan, Thomas

doi:10.1162/152638101750173019

Cited by 27 publications

(9 citation statements)

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“…This legacy is anything but neutral. As Chantal Mouffe has noted, "every form of art has a political dimension" [20].…”

Section: Didacticismmentioning

confidence: 99%

Glacier, Plaza, and Garden: Ecological Collaboration and Didacticism in Three Canadian Landscapes

Hammond

2021

Sustainability

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The emphasis in landscape studies on human agency and needs can obscure the complex relationships between non-human living things and their animate and inanimate contexts. Diverse authors have pointed out that this anthropocentric outlook is problematic, destructive, and neo-colonial. How might it be possible to approach a landscape, i.e., land itself, and all that lives on it, in a way that foregrounds the realities and risks of that site, without falling back on familiar humanistic and anthropocentric tropes? In this essay, I explore three recent artworks that each engage with a different landscape: Requiem for a Glacier by artist and composer Paul Walde (2013); the Urban Prairie designed by landscape architects Claude Cormier + Associés (2012); and The Boreal Poetry Garden by visual artist Marlene Creates (born 2005-). By analyzing these artists’ and designers’ creative strategies in relation to these landscapes, I delve into the question of ecological collaboration in each project, and explore the ways in which the non-human aspects of the landscape do, or do not, take centre stage. In so doing, this essay has a second aim: to explore the extent to which, in performing a didactic relationship with their sites, these three projects contribute to an activist and pedagogical ethos around climate change, habitat, and ecology.

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“…This legacy is anything but neutral. As Chantal Mouffe has noted, "every form of art has a political dimension" [20].…”

Section: Didacticismmentioning

confidence: 99%

Glacier, Plaza, and Garden: Ecological Collaboration and Didacticism in Three Canadian Landscapes

Hammond

2021

Sustainability

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“…There is general agreement between music commentators that Psychobilly and the people affiliated with it avoid taking political stances, showing their discontent concerning the attitudes of politicians and political youths (Downey, 2004;Katz, 2012;Brackenridge, 2007;Wojcik, 2013). However, according to Mouffe (2001), every form of artistic practice either contributes to the reproduction of the established order or contributes to its degradation and critique; so in this sense, Psychobilly music and its core subculture, although seeming apolitical, performs semiotic warfare against the mainstream youth culture and the music establishment.…”

Section: The Psychobilly Scenementioning

confidence: 99%

Untitled

2020

ijcs

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Welcome to the latest IAFOR Journal of Cultural Studies, whose publication coincides with the outbreak of the Covid-19 virus. At first, during late January and early February 2020, the world breathlessly stared at China, fascinated by the ill fate that had befallen its populace, deemed to be far removed from the West and containable on living room flat screens and mobile phones. At times, the virus outbreak was even used as an excuse for localised racism, as when a bus of Chinese was stoned in the Ukraine. But by late February 2020, however, panic had set in in many parts of the world, as it became clear that, thanks to globalisation, China was everywhere and that dreams of racial and cultural differences, as fake news would have us believe, did protect neither Africans nor Europeans from the disease. Already within a single culture, individuals change the side of the street when another approaches; outbreaks are denied or designated as "negligible" or a return to normalcy by "this coming Saturday" (Irans president Hassan Rohani) is promised; whistleblowers are taken into police custody or the outbreak is used to showcase a government's ability to build a new hospital within a week, relegating the outbreak to an economic problem that can be solved by real estate means; hoarding taking place in supermarkets, with prices of food rising by up to 20% month-on-month (China) or masks and disinfectant sold at exorbitant prices; and news outlets decrying the negative effect the virus has on the stock market or the output of companies rather than looking at the plight of the infected people. At such a time, it is good to remember that culture, the relating of oneself to one's own and to others' social modes of behaviour, is never a state, but always a process; any "progress" is always under threat and can easily be reversed in times of crisis. The articles in this issue do not address the Covid-19 virus, as they were all written before the existence of this virus was known. But all of them do comment on it indirectly as they comment on political and cultural changes and challenges people face in different parts of the world, as they flag inequalities, attempts at rewriting history and undue pressure exerted by governments to regulate free artistic expression.

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“…Como sostendré en las próximas secciones, la TDPP es útil para el análisis cultural debido a que no sólo admite, sino que además explora productivamente la tensión entre lo político, o el antagonismo, y la política hegemónica, o la lucha entre proyectos políticos por imponer tanto una sutura discursiva como un orden hegemónico. Desde esta perspectiva, cualquier práctica, el arte incluido, puede ser politizada porque la dimensión del antagonismo, lo político, no tiene un lugar específico en la sociedad y puede manifestarse potencialmente en cualquier relación (Mouffe, 2001(Mouffe, , 2013 Toda forma de arte tiene una dimensión política" (Mouffe, 2001: 100).…”

Section: Antagonismo Y Dislocaciónunclassified

Dislocaciones, hegemonización discursiva e identidad. Una lectura de Memoria Visual de una Nación desde el post-marxismo de Laclau y Mouffe

Valenzuela

2016

RdA

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Este artículo presenta un análisis del mural titulado Memoria Visual de una Nación (MVN), y en particular de su panel Los Conflictos, del reconocido artista chileno Mario Toral. Este análisis aplica algunos de los conceptos claves de la teoría del discurso post-fundacional y post-marxista (TDPP) de Ernesto Laclau e intenta probar su utilidad para el análisis cultural. La representación de acontecimientos divisivos en MVN plantea las siguientes preguntas: ¿por qué Toral incluye temas conflictivos en un mural que representa la identidad nacional y memoria? Y, ¿cómo enfrentó Toral el problema de representar la identidad nacional ante una historia traumática? El artículo primero se ocupa de la interconexión entre la producción de significado y el contexto político y social, y aborda luego la tensión entre la producción cultural y política hegemónica.Palabras clave: cultural studies, teoría del discurso, identidad, sociedad dividida /trauma, politica chilena, Ernesto Laclau, Mario Toral. Dislocations, discursive hegemonization and identity, A reading of Memoria Visual de una Nación from the view point of postmarxism of Laclau and Mouffe This article presents an analysis of the mural entitled Memoria Visual de una Nación (Visual Memory of a Nation) with a focus on its panel Los Conflictos (The Conflicts), by the renowned Chilean artist Mario Toral. This analysis applies some of the key concepts of Ernesto Laclau’s post-fundaitional and post-marxist discourse theory to a Cultural Studies problematic. The representation of divisive events in MVN raises the following questions: Why did Toral include conflictive issues in a mural representing national identity and memory? And, how did Toral deal with national identity and its demand for unity when faced with a divisive and traumatic history? The article deals first with the interconnectedness of meaning-making, social, and political context and then addresses the tension between the realm of cultural production and hegemonic politics. Keywords: cultural studies, discourse theory, identity, divided society/trauma, politics, Ernesto Laclau, Mario Toral.

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“Every Form of Art Has a Political Dimension”

Cited by 27 publications

References 0 publications

Glacier, Plaza, and Garden: Ecological Collaboration and Didacticism in Three Canadian Landscapes

Glacier, Plaza, and Garden: Ecological Collaboration and Didacticism in Three Canadian Landscapes

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Dislocaciones, hegemonización discursiva e identidad. Una lectura de Memoria Visual de una Nación desde el post-marxismo de Laclau y Mouffe

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