Cultural Activism

Question 1

What does ethical art do? (pres)

Answer 1

-facilitates participation and breaks down he idea of a passive viewer

Question 2

What ranciere suggest about aesthetic judgements and political judgements? (Pres)

Answer 2

-they are always related

Question 3

What is the people’s republic of stoke’s croft an example of? (Pres)

Answer 3

-aesthetic and politics, using council motifs and style to make their political point

Question 4

How are sensuous solidarities formed? (Routledge)

Answer 4

through diverse bodily movements and techniques, mobilizing particular emotions, symbolism and politics

Question 5

Example of sensuous solidarity? (Routledge)

Answer 5

• protest against G8 meeting in Gelneagles
• In months prior collab of artist toured nine British cities to introduce them to the Clandestine insurgents rebel clown army

Question 6

What inspires people to participate in political action? (Routledge)

Answer 6

-people’s ability to transform their feeling about the world into actions

Question 7

What does cultural activism involve? (Routledge)

Answer 7

-art, performance, activism and politics combined in myriad of ways to challenge dominant ways of seeing and constructing the world and present alternate views of the world

Question 8

What are the three benefits to cultivating a dialogue on ethics in political activism? (Routledge)

Answer 8

• relations of honesty, truth and interpersonal acknowledgement can be nurtured
• a moral language can be constructed
• contributes to us becoming more fully conscious human beings

Question 9

How is play an important part of the Rebel clown army? (Routledge)

Answer 9

-it can rearrange and question existing social arrangements and through parody and satire

Question 10

What effect can performance have in the Rebel clown army? (Routledge)

Answer 10

-it heightens everyday behaviour, being interactive liminal and allows for for dominant social norms to questioned, played with, subverted and transformed

Question 11

What does the totem pole gift to China from BC in honour of 2008 earhquake victims suggest show? (Kisin)

Answer 11

• show the complex alliances between indigenous nations and states,
• the range of interest at different scales of its production and circulation
• we can see how artworks can be politically charged objects, made to enact transfers, while playing on the edges of settler territoriality

Question 12

How should we understand that process that makes art-as-resource? (Kisin)

Answer 12

-a settler colonial technique of governance that enables various conflations of art, resources and heritage in these bureaucratic regimes to make sense

Question 13

How do state hertiage policies respond to anxieties about circulating culture? (Kisin)

Answer 13

-through protocols to produce cultural resources for heritage-making within a state - distributing money for the arts via canada council for example- and simultaneously to limit circulation of heritage, preventing objects of national value from leaving the country

Question 14

What is the notion of aboriginal art bound up with? (Kisin)

Answer 14

-the production of ‘aboriginiality’ as a legal and effective subjects position within the Canadian state: as Aboriginal arts becomes recognisable as such, so do native people as governable subjects

Question 15

How is the economic and social threat posed by aboriginal rights neutralised? (Kisin)

Answer 15

-by creating and fixing forms of incommensurable aboriginality into product forms, cast in a language of rights and repair

Question 16

What do recent initiatives emphasise about first nations art? (Kisin)

Answer 16

-that it’s a sustainable economic strategy for remote communities whist contributing to larger government led progrmmes in these regions, including development of mines, and other policies of maintaining sovereignty in these remote regions

Question 17

What does the conflation of art and industriousness often produce? (Kisin)

Answer 17

-A model of benevolent settler wardship in which sovereignty can only be recognised in conditions of suffering, thereby predcluidng overeignty on other grounds

Question 18

Example of suzanne Morrisette’s incomplete map (Kisin)

Answer 18

• dense layers of text that address the problem of decolonising space; barely legible these are superimposed on a distorted map of territory in BC
• conceives it as an unmap, settling the extractive process of mapping with its settler colonial territroialities, ordering the landscape with the theoretical tools of decolonisation
• produced out of a refusal to comply with colonial modes of adjudicating taste and causality

Question 19

What is a reason why artists are no longer interested in the passive process of presenter-spectator? (Bishop)

Answer 19

such communication has been entirely appropriated by the commercial world

Question 20

What does participatory art do instead of supplying the market with commodities? (Bishop)

Answer 20

-channel art’s symbolic capital towards constructive social change

Question 21

Why did New Labour prioritise art? and critique of this? (Bishop)

Answer 21

• idea it can increase employability, minimise crime and foster aspiration
• idea that if people become socially excluded they are more likely to pose a problem, therefore encouraged the arts to be socially inclusive
• critique from he left that this seeked to conceal social inequality, rendering it cosmetic rather than structural

Question 22

What is the social inclusion agenda bout? (Bishop)

Answer 22

-mission to enable all members of society to be self-administering, fully functioning consumers who do not rely on the welfare state and who can cope with regulated privatised world. As such the neoliberal idea of community doesn’t seek to build social relations, but rather to erode them

Question 23

What is the example of ODA Projesi? (Bishop)

Answer 23

• group of 3 turkish artist who based their activities around a 3 room apartment of istnbul, workshops for community
• argued they wished to open up a context for the possibility of exchange and idalogue motivated with their surroundings.
• they suggest that dynamic and sustained relationshops provide their marker of success rather than aesthetic considerations

Question 24

Example of Battle of Oregreave (Bishop)

Answer 24

• performance re-enacting violent clash between miner and mounter police in 1984. Reconstructing bought former miners and local residents together with a number of hstorical re-enactment societies
• dialogues with both social and art history