Participation Without Guarantees: Notes on Art as Socio-affective Practice

In recent decades, we have seen the multiplication of the labels use to refer to art works that, in one way or another, promote audience participation beyond spectatorial practice: participatory art, community art, relational aesthetics, contextual art, collaborative art, dialogic aesthetics, social...

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Autor principal: Yepes Muñoz, Rubén Darío
Formato: Artículo revista
Lenguaje:Español
Publicado: Centro Interdisciplinario de Literatura Hispanoamericana (CILHA) 2020
Materias:
Arte participativo
Arte latinoamericano
Arte y afecto
Participatory art
Latin American art
Art and affect
Acceso en línea:https://revistas.uncu.edu.ar/ojs3/index.php/cilha/article/view/3558
Aporte de:
Cuadernos del CILHA de Universidad Nacional de Cuyo
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record_format ojs
institution Universidad Nacional de Cuyo
institution_str I-11
repository_str R-112
container_title_str Cuadernos del CILHA
language Español
format Artículo revista
topic Arte participativo
Arte latinoamericano
Arte y afecto
Participatory art
Latin American art
Art and affect
spellingShingle Arte participativo
Arte latinoamericano
Arte y afecto
Participatory art
Latin American art
Art and affect
Yepes Muñoz, Rubén Darío
Participation Without Guarantees: Notes on Art as Socio-affective Practice
topic_facet Arte participativo
Arte latinoamericano
Arte y afecto
Participatory art
Latin American art
Art and affect
author Yepes Muñoz, Rubén Darío
author_facet Yepes Muñoz, Rubén Darío
author_sort Yepes Muñoz, Rubén Darío
title Participation Without Guarantees: Notes on Art as Socio-affective Practice
title_short Participation Without Guarantees: Notes on Art as Socio-affective Practice
title_full Participation Without Guarantees: Notes on Art as Socio-affective Practice
title_fullStr Participation Without Guarantees: Notes on Art as Socio-affective Practice
title_full_unstemmed Participation Without Guarantees: Notes on Art as Socio-affective Practice
title_sort participation without guarantees: notes on art as socio-affective practice
description In recent decades, we have seen the multiplication of the labels use to refer to art works that, in one way or another, promote audience participation beyond spectatorial practice: participatory art, community art, relational aesthetics, contextual art, collaborative art, dialogic aesthetics, social aesthetics, artistic intervention, action-art... It is often insisted that this type of art, which usually has a manifest political intention, promotes the creation of new affective situations, of emotional bonds between social sectors that otherwise might not coincide. However, we must recognize that, frequently, this intention is insufficient for this art to have a significant social impact and that participation has even become a leitmotiv of the canon of international contemporary art. In this essay I address several participatory art works developed in the the two national contexts that I have inhabited in recent years: the United States and Colombia. Emphasizing the affective dimension of the works, I discuss their political scope and limitations,  suggesting that this type of art, to paraphrase Stuart Hall, is always created "without guarantees".
publisher Centro Interdisciplinario de Literatura Hispanoamericana (CILHA)
publishDate 2020
url https://revistas.uncu.edu.ar/ojs3/index.php/cilha/article/view/3558
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first_indexed 2022-06-20T13:45:08Z
last_indexed 2022-06-20T13:45:08Z
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