Page 96 - Darko Štrajn, From Walter Benjamin to the End of Cinema: Identities, Illusion and Signification. Ljubljana: Educational Research Institute, 2017. Digital Library, Dissertationes, 29.
P. 96
from walter benjamin to the end of cinema
tistic acts of counter-identification. Working in a vast field of the possi-
ble production of singularities, which more or less address and express the
phenomena of micro levels of social life, especially the counter-identifica-
tion exposes or subverts the functioning of politics, which exists through
the distribution of modes of domination. Artistic gestures, acts, stunts, re-
flexive exposures, etc. of social realities (often containing a self-reflection of
their generative formula within a social space), which come to life through
the counter-identification, are also readable as at least an initiative or an ex-
igency for emancipatory counter-politics. This remains true also in the pe-
riod of postmodernism, when the “shock value” of modernist art seems ut-
terly exhausted, due to the acceptance of singular positions of artistic acts
and products in the public space. However, as art continues to “make state-
ments”, we may say that in the best case it takes part in a political context
within democracy or that it is in the worst case decentring perceptions of
“normality” for which politics strives in its dealings within power relations.
94
tistic acts of counter-identification. Working in a vast field of the possi-
ble production of singularities, which more or less address and express the
phenomena of micro levels of social life, especially the counter-identifica-
tion exposes or subverts the functioning of politics, which exists through
the distribution of modes of domination. Artistic gestures, acts, stunts, re-
flexive exposures, etc. of social realities (often containing a self-reflection of
their generative formula within a social space), which come to life through
the counter-identification, are also readable as at least an initiative or an ex-
igency for emancipatory counter-politics. This remains true also in the pe-
riod of postmodernism, when the “shock value” of modernist art seems ut-
terly exhausted, due to the acceptance of singular positions of artistic acts
and products in the public space. However, as art continues to “make state-
ments”, we may say that in the best case it takes part in a political context
within democracy or that it is in the worst case decentring perceptions of
“normality” for which politics strives in its dealings within power relations.
94
