Palm Tree Whispers and Mountain Escapes: How Contemporary Artworks Contribute to an Inclusive Public Sphere
How do artworks contribute to a more inclusive public sphere? Artworks contribute to the inclusiveness of a public sphere in that they help us consider previous objects as acting subjects, and thus as entities deserving membership in the public sphere. In addition, artworks typically attract a publi...
| Published in: | Social Inclusion |
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| Main Author: | |
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Cogitatio Press
2021
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| In: |
Social Inclusion
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| Further subjects: | B
distribution of the sensible
B political art B Eduardo Navarro B Prabhakar Pachpute B Jacques Rancière B Latin America B Oliver Marchart B Contemporary Art B Public Sphere B environmental art B global art market B art world B Latin American art B Inclusiveness B Species |
| Online Access: |
Volltext (kostenfrei) Volltext (kostenfrei) |
| Summary: | How do artworks contribute to a more inclusive public sphere? Artworks contribute to the inclusiveness of a public sphere in that they help us consider previous objects as acting subjects, and thus as entities deserving membership in the public sphere. In addition, artworks typically attract a public, thus generating the necessary recognition for additional subjects. We propose a typology that categorizes artworks’ contribution to an inclusive public sphere. The typology is based on two axes: (a) artworks’ explicitness in attributing the status of a subject to a previous object and (b) the number of people that get to see the artwork. In order to illustrate the applicability of the typology and in order to understand how the two dimensions relate to one another, we analyze how two artworks include the non‐human as subjects into the public sphere: Eduardo Navarro’s Sound Mirror (shown at the 2016 São Paulo Biennal) and Prabhakar Pachpute’s Mountain Escape (exhibited in the 2016 Colombian Salón Nacional de Artistas). Comparing both artistic strategies we find that there may be a trade‐off between the explicitness and the reach of a new subjectification. |
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| ISSN: | 2183-2803 |
| Contains: | Enthalten in: Social Inclusion
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| Persistent identifiers: | DOI: 10.17645/si.v9i4.4180 |