Novi broj TkH časopisa online: POLITIČNOST PERFORMANSA / THE POLITICALITY OF PERFORMANCE

 

 

POLITIČNOST PERFORMANSA / THE POLITICALITY OF PERFORMANCE  
 
dvojezično izdanje TkH (Teorija koja Hoda) časopisa za teoriju izvođačkih umetnosti, (br.19)
bilingual issue of TKH (Walking Theory) Journal for Performing Arts Theory (no.19)
 
Urednici / Edited by: Ana Vujanović i/and Aldo Milohnić
Autori / Authors: Janelle Reinelt, Aleksandra Jovićević, Ana Vujanović, Bojana Kunst, Sezgin Boynik, Gerald Raunig, Aldo Milohnić, Gregory Sholette & Jelena Vesić, The Art and/as Politics Group (Aneta Stojnić, Ana Isaković, Marko Đorđević and Sava Jokić) of the Deschooling Classroom project.
 
TkH 19 je realizovan kao deo aktivnosti projekta BCC i Raškolovano znanje. Tema broja je deo istraživačkog projekta TkH-a “Performans i javnost” realizovanog u Les Laboratoires d’Aubervilliers / This issue is realised as part of activities within the BCC project and Deschooling Classroom. The topic of this issue was researched in the context of TkH project “Performance and the Public” produced at Les Laboratoires d’Aubervilliers.
 
Pdf izdanje možete naći ovde: http://www.tkh-generator.net/sr/casopis/tkh-19  
Pdf version you can find here: http://www.tkh-generator.net/en/magazine/tkh-19  
 
 
>>>Scroll down for English version<<<
 
 
Odlomak: Političnost performansa: uvodna reč
Ana Vujanović i Aldo Milohnić
 
Posmatran iz jedne šire povesne perspektive, društveni položaj umetnosti čini se marginalnim, što bi se moglo iskoristiti kao polazište za razmišljanje o tome šta bi danas političnost performansa uopšte mogla da znači. Takođe, čini se da je politička važnost umetnosti dovedena u pitanje, komercijalizacijom i komodifikacijom kroz industrije zabave i kreativne industrije, barem delimičnim prisvajanjem njene političke važnosti od strane masmedija, kao i ukupnom “estetizacijom života” tokom 20. veka, da navedemo tek nekoliko mogućih činilaca. Ali u isto vreme, sama tema privlači pažnju sve većeg broja umetnika i teoretičara. Ovo izdanje časopisa TkH posvećujemo temi političnosti performansa zato što želimo da otvorimo veći prostor promišljanju ove dve, čini se, nepomirljive pojave. Između ostalih, rasprava obuhvata i sledeća pitanja: Šta ovi pojmovi danas znače i kako su oni međusobno povezani ili nepovezani? Zašto predloženu temu smatramo važnom ili, jednostavnije rečeno, zašto su izvođačke umetnosti danas toliko zaokupljene političkim? Da nije to samo alibi smišljen da bi se obezbedila podrška javnih fondova i drugih fondacija? Možda je to naš očajnički pokušaj da steknemo priznanje kao praksa od društvenog značaja, a ne kao jedan elitistički vid zabave? Ili je to možda samo deo statusa quo neoliberalnog kapitalizma, koji zamagljuje granice između različitih društvenih praksi, i u kojem neka stara pitanja – na primer, kako se danas baviti politikom i gde se ona danas nalazi – i dalje čekaju na odgovor?
 
Uvodeći pojam političnosti u naslovu izdanja, želimo da naglasimo da nismo usredsređeni na bilo koju posebnu politiku izvođačkih umetnosti. Umesto toga, naš je cilj da pokušamo sagledati političnost performansa kao aspekt te umetničke prakse koji se odnosi na načine na koje ona dejstvuje i interveniše u javnoj sferi, u vezi s raspravama i sukobima oko sledećih pitanja: subjekata i objekata koji u njoj učestvuju; raspodele mêsta i moći među njima; kao i ideoloških diskursa koji oblikuju zajednički simbolički i čulni poredak društva, a koji utiče na njegove materijalne strukture i deobe. Nije nam, dakle, namera da zagovaramo politički performans, niti da razvrstavamo performanse po uobičajenim kategorijama (angažovan, larpurlartistički itd.). Umesto toga, želimo da podstaknemo kritičko i analitičko promišljanje jedne široke i složene mreže političnosti, kao aspekta koji odlikuje baš svaki performans – bio on navodno političan ili apolitičan, transformativan ili pokoran, rezistentan ili saučesnički – kao društveni događaj koji se odvija u javnoj sferi.
 
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excerpt from The Politicality of Performance: A Few Introductory Remarks
Ana Vujanović and Aldo Milohnić
 
In a broader historical perspective, the social position of art seems relatively marginal, which could serve as a possible starting point to think about what the politicality of performance might mean today. It seems that the political relevance of art has become disputable, due to its commercialisation and commodification by the entertainment and creative industries, the mass media’s at least partial appropriation of its political relevance, and an overall “aestheticisation of life” in the 20th century, to name only a few possible factors. But at the same time, the topic itself has been attracting more and more theoretical and artistic attention. We devote this issue of the TkH journal to the topic of the politicality of performance because we want to open up more space for thinking about these two seemingly irreconcilable tendencies. The discussion may include (but is not limited to) questions such as the following: What is the meaning of these notions nowadays and how are they disconnected or interconnected? Why do we find the proposed topic important or, to put it simply, why is there such a preoccupation with the political in the performing arts today? Might it merely be an alibi concocted to secure the support of public funds and various other foundations? Maybe it is just a desperate attempt to be recognised as a socially relevant practice instead of being dismissed as an elitist type of entertainment? Or is it just the neo-liberal capitalist state of affairs, which blurs the borders between different social practices and where some old questions – such as how we practise politics and where politics is located today – are still waiting for an answer?
 
By introducing the notion of politicality in the title of the volume, we want to emphasise that our main concern is not a particular politics of contemporary performing arts. Instead, our aim is to try to grasp the politicality of performance as an aspect of this art practice that represents the ways in which it acts and intervenes in the public sphere, related to discussions and conflicts around the following issues: the subjects and objects that perform in it; the arrangement of positions and powers among them; and the ideological discourses that shape a common symbolic and sensorial order of society, which affects its material structure and partitions. Accordingly, our intention is neither to advocate political performance, nor to classify performances in any of the usual categories (engaged, l’art-pour-l’art, etc.). Instead, we want to encourage critical and analytical reflections of a broad and complex grid of politicality as an aspect that characterises each and every performance – be they supposedly political or apolitical, resistant or complicit, transformative or servile – as social events that take place in the public sphere.
 
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Ovo kao i prethodan izdanja časopisa su dostupna na / The complete issue along with previous issues of TkH Journal are available at: www.tkh-generator.net
 
U Beogradu časopis je moguće kupiti u knjižarama / Hard copy available in bookstores in Belgrade: Beopolis i/and Aleksandar Bjelić (cena/price 700 rsd = 7€)
 
Finansijska podrška / Financial support:
Evropska unija/European Union, Švajcarski program za kulturu za Zapadni Balkan/Swiss Cultural Programme in the Western Balkans, Skupština grada Beograda/Assembly of the city of Belgrade.
 
 
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