University of Primorska University Library - all departments (UPUK)
13.
Subverzivne prakse v sodobni umetnosti - strategije majhnega odpora
Tratnik, Polona
If modern art was already subversive (particularly in Modernism), the subversive character of contemporary art is specific in that it does not engage in the artistic-referential subversion of the ...existing canons and forms(as was the case of (high-) modernist art), nor in radical demands for the change of the art institution or society at large (as evident in artistic-historical avant-gardes), but rather, in strategies of small resistance. If we understand science as the production of knowledge, then art,on the other hand, has constantly sought ways out of the existing paradigms; it is essentially questioning. Contemporary art practices typicallylocate their goals in actual social and political issues, scientific discourse, and the field of mass information media. Subversive practices in contemporary art which are based on the activist approach, for example, in theso-called tactical media, opt for direct political action; nevertheless, resistance art - although large-scale - is only a minor point of resistance incomparison with major structures of economic, military and political power (Peljhan). Contemporary society is composed of relatively autonomous social fields in which competition focuses on specific kinds of capital, while the field of power traverses all other social fields (Bourdieu). The dominant sector of society is composed of agents having political and economic power, and of centres of power controlling the media, or the distribution and circulation of information. Contemporary art practices which follow the logic of the communicational-informational society, in which every receptor is also a potential transmitter, or every user is a potential distributor, aspire to establish a matrix within which they could manage and manipulate information -as such they are essentially bound to questioning, positioning and manipulating cultural, social, economic and political power. Critical and activist approaches - which can also be found in the domain of art - function as a place of questioning of governing discourses and their modes of codification, or as a place of resistance against current and apparently natural patterns and ideologies, and against everyday forms of social and political domination. Such activity - which also surpasses modern paradigms ofart - is significant for the development of critical awareness of the wider public.
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