The Critique of the Critique – Rancière's Approach Ao Art and Politics
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Date
2020
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Kadir Has Üniversitesi
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Abstract
Bu çalışma, Rancière'in bir dizi metni aracılığıyla politika ve sanat arasındaki ilişkiyi eleştirel bir bakış açısıyla ele almaktadır. Bu sorun alanında, tez, günümüzün sorunlarına karşı muhalefet rolünü üstlenen politik sanat kavramına bir eleştiri getirmeyi amaçlamaktadır. Bu çalışmada, konu, eşitlik, duyulur olanın paylaşımı ve özgürleşme süreçleri kavramları dahilinde ele alınmaktadır. Başlangıçta, bu ilişkinin birbirine bağlı iki bileşeni olarak politika ve sanat, bu tezin analitik amaçları için ayrı ayrı incelenmiştir. Daha sonra, Rancière'in bu kavramları ele alışı temel alınarak, her iki kavramın özgürleşme süreçlerindeki etkileri analiz edilmiştir. Daha sonra, Debord'un gösteri eleştirisi üzerinden Rancière'in politik sanattaki ana sorun olarak işaret ettiği gibi, aslında içsel eşitsizliği daha da artıran, mevcut hiyerarşik düzeni sürdürmede güç egzersizi rolünü ortaya koymak için öne sürdüğü eleştiri analiz edilmiştir. Bu süreçte tez, metodolojisi açısından söylem analizi stratejilerini benimser. Dolayısıyla, çalışma birbirini izleyen üç bölüm halinde düzenlenmiştir; politika, sanat ve politik sanat eleştirisi. Sonuç olarak tez sanatın siyasallaşmasının sadece sahte bir özgürleşme vaadi taşımadığını, aynı zamanda toplumda hiyerarşiler yarattığını açığa çıkarır.
This study tackles the problem of the relationship between politics and art from a critical perspective through re-reading of a series of texts by Rancière. Within this problem area, the thesis aims to bring a sound critique to the notion of political art which claim the role of opposition against the evils of present-day. The study addresses the issue, within the limits of its scope, only through the framework defined by the concepts of; equality, distribution of sensible and processes of emancipation. Initially, art and politics as two interconnected components of this relationship are deliberately examined separately for the analytical purposes of this thesis. Subsequently, their relationship is analyzed through Rancière's approach to reveal the capacities of both entities in the processes of emancipation. Later on, the relationship between art and politics is analyzed through Debord's critique of the spectacle, which exposes the role of power exercise in perpetuating the existing hierarchical order of the society that further amplifies the intrinsic inequality as Rancière points out as the major problem in political art. Along this path, the thesis adopts the strategies of discourse analysis in terms of its methodology. Hence, the study is organized in three consecutive parts; politics, aesthetics and critique of political art. It is concluded that politicization of art not only carries a false promise of emancipation, but also establishes hierarchies within society.
This study tackles the problem of the relationship between politics and art from a critical perspective through re-reading of a series of texts by Rancière. Within this problem area, the thesis aims to bring a sound critique to the notion of political art which claim the role of opposition against the evils of present-day. The study addresses the issue, within the limits of its scope, only through the framework defined by the concepts of; equality, distribution of sensible and processes of emancipation. Initially, art and politics as two interconnected components of this relationship are deliberately examined separately for the analytical purposes of this thesis. Subsequently, their relationship is analyzed through Rancière's approach to reveal the capacities of both entities in the processes of emancipation. Later on, the relationship between art and politics is analyzed through Debord's critique of the spectacle, which exposes the role of power exercise in perpetuating the existing hierarchical order of the society that further amplifies the intrinsic inequality as Rancière points out as the major problem in political art. Along this path, the thesis adopts the strategies of discourse analysis in terms of its methodology. Hence, the study is organized in three consecutive parts; politics, aesthetics and critique of political art. It is concluded that politicization of art not only carries a false promise of emancipation, but also establishes hierarchies within society.