Radical History and the Politics of Art

Rockhill, Gabriel

doi:10.7312/rock15200

Cited by 54 publications

(4 citation statements)

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“…And politics, of course, could never stay detached from sensations and affect, and often consciously worked with feelings. The line of separation was less clear-cut than often claimed (Rieff, 1953;Eagleton, 1990;Rockhill, 2014). It was eventually squinted away depending on the angle of observation, once institutionalized modern ideals of autonomous art and democratic politics were given a hard look, or the actual practices of doing aesthetics and politics taken into view.…”

Section: Purified Systems or All Distinctions Collapsed?mentioning

confidence: 97%

Sensing Collectives

2023

Sozialtheorie

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Are aesthetics and politics really two different things? The book takes a new look at how they intertwine, by turning from theory to practice. Case studies trace how sensory experiences are created and how collective interests are shaped. They investigate how aesthetics and politics are entangled, both in building and disrupting collective orders, in governance and innovation. This ranges from populist rallies and artistic activism over alternative lifestyles and consumer culture to corporate PR and governmental policies. Authors are academics and artists. The result is a new mapping of the intermingling and co-constitution of aesthetics and politics in engagements with collective orders.

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Section: Purified Systems or All Distinctions Collapsed?mentioning

confidence: 97%

Sensing Collectives

2023

Sozialtheorie

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“…75 In this respect, in those movements there exists an intertwined relationship between art and politics considering the creativity and performativity of the interventions. Rockhill states that art and politics "are differentially constituted sociohistorical practices" 76 instead of the assumption that there exists a stable relationship or a sort of ontological separation. Within their dynamic relationship, he stresses that "various relations are constructed and dismantled in the social sphere through a series of ongoing battles."…”

Section: The Gezi Uprisingmentioning

confidence: 99%

Stand-in as a performative repertoire of action

Derman

2017

Turkish Studies

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Numerous rallies, gatherings and occupations in public squares of big cities have been emerging since 2010 all around the world as a new guideline to new social movements. These recent movements embrace a transformation in public spaces through interaction, shared experience and art so that a collective energy is generated within a given context and time. They therefore propose an alternative acting and living together in the light of the equality of all individuals involved. The recreation of this new active citizenship, both individually and collectively, is also highly connected with the appropriation of a performative repertoire of action within everyday life. This paper focuses on the active, yet unorganized participation of Turkish citizens to the protestation and/or performance of the Standing Man all over Turkey. Standing still and silent offers thus a performative action, which has become collective through social networks. This unpredicted act has been a pioneer in terms of the transformation of a singular creative intervention to a collective performative action.

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“…This brings me to the shortcoming of another common way to approach the relationship between aesthetics and politics, namely, the conflation of the aesthetic with art or the artistic . Of course, there is nothing wrong with exploring the relationship between art and politics, especially because in modern times art in the singular emerged as a distinct domain that is separated from all others (e.g., Rockhill, , pp. 26–27; Shiner, ).…”

Section: Introductionmentioning

confidence: 99%

“…The most sophisticated recent contribution to this tradition is Gabriel Rockhill's (). Inspired by Foucault, he argues for a historicist analysis of the relation between art and politics.…”

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confidence: 99%

Aesthetic freedom and democratic ethical life: A Hegelian account of the relationship between aesthetics and democratic politics

Schaub

2018

European J of Philosophy

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This paper presents a novel Hegelian view of the relationship between aesthetics and democratic politics. My account avoids the drawbacks associated with approaches, such as Rancière's, that reconceive all of the political in aesthetic terms or, like Rockhill's, reduce the aesthetic to art. Instead, I maintain that the aesthetic is best understood as a distinct recognition relationship of individual freedom. My argument proceeds by highlighting shortcomings of Honneth's account of democratic Sittlichkeit and then addressing these impasses by integrating aesthetic freedom into the picture. The first two steps of my argument concern the fact that the form of life outlined by Honneth aspires to be a form of free life, yet his account of democratic Sittlichkeit gives rise to two dimensions of unfreedom. The first problem of unfreedom pertains to the scope of freedom. The relationships of freedom incorporated into Honneth's account fail to turn given social roles into the subject matter of a sufficiently unrestricted practice of freedom. The second problem of freedom concerns conformism. In a final step, I complete my argument that Honneth's account is unsatisfactory and incomplete by showing that aesthetic freedom is socially valid and thus ought to form part of our accounts of democratic ethical life.

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Radical History and the Politics of Art

Cited by 54 publications

References 0 publications

Sensing Collectives

Sensing Collectives

Stand-in as a performative repertoire of action

Aesthetic freedom and democratic ethical life: A Hegelian account of the relationship between aesthetics and democratic politics

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